2012–2013 Annual Report

Table of Contents

SJMA BY THE NUMBERS……………………………………………………..3

BOARD OF TRUSTEES………………………………………………………..4

PRESIDENT’S REPORT………………………………………………………..6

DIRECTOR’S REPORT…………..…………………………………………….8

EXHIBITIONS 2012-2013…………………………………………………….11

PRESS: Rising Dragon: Contemporary Chinese Photography……………...26

LOANS FROM THE PERMANENT COLLECTION…………………….27

ACQUISITIONS 2012-2013………………………………………………….30

MUSEUM EXPERIENCE AND EDUCATION PROGRAMS…………..53

PRESS: Annie Leibovitz: Pilgrimage………………………………………….73

DEVELOPMENT REPORT ………………………………………………….74

FULL SPECTRUM 2012: ANNUAL GALA………………………………..80

ATTENDANCE AND BENCHMARKS…………………………………….82

AUDITED FINANCIAL STATEMENTS…………………………………..83

VOLUNTEERS…………………………………………………………………86 STAFF……………………………………………………………………………89

Image: Installation view: Chrysopylae, 2012; Two-channel installation with sound; Dimensions variable; Gift in part from the Lipman Family Foundation with additional funds contributed by the Acquisitions Committee

SJMA by the Numbers

104 new works were added to the permanent collection 10,000 people attended 58 public programs 219 children attended summer art camps

Docents led 533 free on-site tours 85,564 visitors; 214,612 website 8,040 students visitors participated in programs with SJMA’s gallery teachers

Over $1.3 million received in program support

30,802 students participated in Let’s Look at Art

4,657 visitors attended free Community Day celebrations for El

Día de Los Muertos, Lunar New Year, and International Museum Day Full Spectrum 2012 gala raised $325,000 for education programs

Board of Trustees

T. Michael Nevens Director (Retired) President McKinsey & Co.

Hildy Shandell CEO Vice President Solarelle LLC

Bruce Worster V.P.(retired) Secretary JDS Uniphase

William Faulkner Attorney at Law, Partner Treasurer McManis, Faulkner

J. Michael Bewley Attorney at Law J. Michael Bewley Law Offices

Roger Bowie Private Client Advisor Wells Fargo Private Bank

Kathleen Callan Community Volunteer Chair, Let’s Look at Art

Anneke Dury Community Volunteer Director, Focus Business Bank

Peter Cross Community Volunteer

Eileen Fernandes Principal, Deloitte Consulting LLP

Tad Freese Attorney at Law Partner, Latham & Watkins

Linda Goldberg Community Volunteer Chair, Volunteer Council

Cheryl Kiddoo Community Volunteer

Michele Klein Principal, Jasper Ridge LLC

Peter W. Lipman Research Geologist (Emeritus) U.S. Geological Survey

Suzette Mahr Community Volunteer Chair, Docent Council

Evelyn Neely Community Volunteer SJMA Docent

Jeannie Pedroza Community Volunteer Chair, Store Guild

Cornelia Pendleton CFO University Art Center

Paul Scearce VP of Product Strategy Lockheed Martin

David Soward Community Volunteer Private Equity Investor

Horacio Teran Managing Director First Republic Investment Management

Rev. 9/24/12

5 President’s Report

I begin my first term as chair of the Board of Trustees by offering a hardy round of thanks to the people who make the San Jose Museum of Art successful. I first extend my thanks to my predecessor, Mike Nevens, for everything he has done for the Museum during important phases of its growth. Mike has valiantly served as chair for a total of four terms, from 1994–1996 and from 2009–2013, during which his contributions have been politically astute, strategically focused, and always ambitious. I am looking forward to continuing his legacy of progress, advocacy, and sensitive leadership. Thanks are also due to our loyal cadre of trustees and volunteers, who dedicate countless hours and numerous skills in service to the Museum. Whether a committee member reviewing financial statements, a Let’s Look at Art volunteer visiting a school, or a docent giving a tour, our volunteers are integral to the Museum’s fulfillment of its mission.

In the fall of 2012, the Museum’s annual gala, Full Spectrum, raised a record $325,000, bolstered by the generosity of guests’ responses to the fund-a-need donation drive. Attendees were amazed by artist Trina Merry’s living paintings—human models whom Merry painted using artworks from our permanent collection as her inspiration. I can speak for all 200 guests when I thank gala chair Bess Wiersema for a remarkable evening, full of colorful surprises and creative gestures.

Top among the most exciting initiatives we undertook this year was the roll-out of the new tag- line for the Museum, “See what you think.” This effort is part of a new, overall marketing program, based on extensive surveys of our visitors, members, and community, that told us what you value most about SJMA: the chance to be surprised by artists’ creative work; the warm welcoming atmosphere here; the chance to learn new things and see internationally important works of art; and of course the chance to enjoy art with family and friends. We are seeing great results from this new outreach campaign. Community-wide excitement at the opening for Annie Leibovtiz: Pilgrimage and Questions from the Sky: New Work by Hung Liu is but one example. We’re channeling this great momentum into the next fiscal year as we get ready for even more ambitious exhibitions and programs.

I am very proud to report that we were awarded reaccreditation by the American Alliance of Museums this year. The reaccreditation process is rigorous and lengthy. It included an encyclopedic self-study in 2009, followed by a peer review by visiting museum professionals, and exacting review and revision of all museum policies and plans. This monumental effort was guided by the Reaccreditation Task Force: Mike Nevens, William Faulkner, Peter Lipman, Theres Rohan, and Lori Fogarty (director, the Oakland Museum of California), working alongside Susan Krane, Oshman Executive Director, Deborah Norberg, deputy director for operations; and Danyelle Morgado, museum administrator. The guidance of the task force was invaluable to this monumental effort, and I thank the members for the positive results. SJMA is one of only 776 of the nation’s 17,500 museums to be granted accreditation.

Our audiences and donors have been energized by the quality and creativity of the Museum’s diverse exhibition schedule this year. Personal highlights of mine include Questions from the Sky: New Work by Hung Liu and Dive Deep: Eric Fischl and the Process of Painting. Both exhibitions

6 connected visitors closely to the artistic process, in very different ways. I left these exhibitions feeling as if I had gained special access to a very creative mind and special insight into the exquisite beauty of these paintings. I was honored by these opportunities.

To the staff members who work tirelessly every day to bring our visitors the best museum experience possible, on the front lines and in the back office: I thank you for your hard work and commitment to the highest of standards. The fruits of your labor are evident in our audiences’ deep appreciation for the programs you help execute together, as a team. I visit museums far and wide on my travels: SJMA’s programs, exhibition design, clear and cogent educational materials, and all-round energy rival the very best.

I would also like to thank our extraordinarily generous donors. Your support means the world to the Museum and to the community that it serves. Thank you for helping the Museum connect the public with art and with the artistic process.

Hildy Shandell President Board of Trustees

7 Director’s Report

Picture Mickey Mouse perched on guy’s shoulder; bus tires embellished with lacey carvings of curlicues; Dante’s Divine Comedy re-imagined on the city streets of America; digitally-animated solar panels falling from the Silicon Valley skies like manna from heaven; and lush paintings full of subliminal psychological drama. These are just a glimpse of the intriguing images that visitors discovered at the Museum in 2012–2013—a year in which the galleries offered surprises at every turn. This year, exhibitions spanned the full range of SJMA’s mission: from new-media work to traditional painting, from rowdy humor to poetic quietude, from work by artists in Santa Clara to work by those in Mexico City. It was a year during which the Museum invited you to let go of set expectations, to exercise your curiosity, and to truly “See What You Think.”

SJMA’s programs took another step forward to further reflect the innovative spirit of Silicon Valley and to connect the art of the West Coast with that of the world, as is our charge. Surveys of international activity, such as Mexicanisimo Through Artists Eyes and Rising Dragon: Contemporary Chinese Photography, were greeted with special excitement by audiences eager to see the ways in which today’s artists tackle both artistic traditions and 21st-century issues. Of the fourteen exhibitions we presented, twelve were organized in-house—an outstandingly high percentage.

No fewer than six projects featured works from the Museum’s collection, including the multigenerational Renegade Humor, (augmented by timely, satirical election-year commissions by Kathy Aoki and Imin Yeh) and Swans, Swine, and Sirens, a most atypical take on classical mythological themes. It was delightful to see visitors’ enthusiastic response to Frank Lobdell: Wonderland, which showcased the new depth of our holdings by this beloved Bay Area master thanks to generous additional gifts from Morgan and Betty Flagg—the Morgan Flagg Administrative Trust that reveal the full complexity of Lobdell’s syncopated abstractions and unique palette.

Sandow Birk’s wry commentary on contemporary life, as seen through the lens of history, is a perennial favorite of our audiences. To Hell and Back (featuring Birk’s take on Dante’s epic poem, The Divine Comedy) proved in equal parts popular, comic, and compelling. Birk’s Monument to the Constitution of the United States (2012), one of his latest large-scale prints, was on view concurrently in Mark My Word in the Koret Family Gallery, thanks to the generosity of the Lipman Family Foundation. Visitors regularly could be found completely engrossed in this print, perusing its microcosmic detail at close range and delighting in every miniature visual pun they discovered.

Nothing stands still for long at SJMA. As a staff, we love it when exhibitions completely alter the look and feel of the Museum. Mark Dean Veca transformed the Davies Gallery in the historic wing with his exuberant, regal, and hyperactive orange-and-red wall painting for Raging Opulence. His uber-Baroque salon was so hotly hued that it seemed to raise the temperature of the room, which was often filled with clusters of loungers at every time of day.

8 The most ambitious exhibition of the season, in scope and scale, was Dive Deep: Eric Fischl and the Process of Painting, an in-depth look at the artist’s virtuoso and acutely observant process. We are thrilled to have co-organized this project with the Pennsylvania Academy of Fine Arts, Philadelphia, which published the accompanying catalogue. The Museum strives to actively give its visitors an insider’s view of the creative process and to connect them with the intimacies of the artist’s life in the studio. Thanks to Fischl’s extraordinary generosity and involvement, visitors were privy to sketches, maquettes, working drawings, and preparatory photographs by one of the most widely heralded figurative painters of our time. Fischl’s interest in the expressive potential of the human body dovetails with the Bay Area’s longstanding predilection for painterly figuration. Dive Deep encouraged audiences to learn through looking—and to peer beneath Fischl’s lush brushwork to understand the metaphorical connection between the artist’s way of handling paint as a material and the meaning behind his imagery. His art, by example, shows us the power and the pleasures of paying close attention.

This focus on the creative artistic process ran throughout the year. In June, we capped off the season with two beautiful shows about time, memory, and mortality: Annie Leibovitz: Pilgrimage and Questions from the Sky: New Work by Hung Liu. Both exhibitions revealed the extraordinary accomplishments of artists at the heights of self-propelled artistic energy, confident and inspired by the greater course of life, death, and history. Leibovitz’s journey to document the abodes of historical figures was personal, quiet, and unassuming, surely at the opposite end of the spectrum from her well-known portraits of celebrities. Her subtle, modest photographs of still- lifes and domestic interiors gave SJMA’s audiences a much wider picture of her sensibility as an artist, as well as a lesson in American history on the side.

Liu looked at the passages of life through a very personal lens in this special project at SJMA. She executed her first mural in many, many years—some 74 feet long—on site; exhibited her first video work (shot with her iPhone) and, for the first time, staged a performance piece in which she painted to the accompaniment of a Maoist-era film, layering paint over the projected image. Presented in collaboration with the Oakland Museum of California (which hosted a retrospective of Liu’s paintings in spring 2013) and Mills College Art Museum, Oakland, Questions from the Sky reaffirmed SJMA’s commitment to the unexpected, new, and often previously private aspects of an artist’s work. Liu’s mural quickly attracted many ardent fans, all of whom (like the staff) regretted that this monumental painting was at heart also a lesson in ephemerality. We hated to see it go.

Artists invited to create work for our “Beta Space” series of special projects are also invited to connect with the community and collaborate with area experts. Ranu Mukherjee took the concept to new lengths and went far beyond expectations. She interviewed dozens of people in Silicon Valley to produce the animations, paintings, and sound installation featured in the exhibition Beta Space: Ranu Mukherjee, Telling Fortunes, in which she looked at people’s experiences of cultural dislocation and transplanted sense of “home.” Thanks to the great generosity of Barbara and William Hyland and their belief in emerging artists, we were able to acquire both the animation Radiant Chromosphere (move towards what is approaching) (2012) and Tree of Life (Schinus molle) (2012), a painting on sari fabric, for the Museum’s collection.

9 Our ongoing series “New Stories from the Edge of Asia” features film, video, and animation by artists from Pacific Rim countries and cultures. In this year’s presentation This/That, storytelling took on humorous twists of parody and fate as artists toyed with the notion of identity as a matter of choice and of self-performance.

This year, we added 104 works to the permanent collection, thanks to the generosity of our donors, patrons, staunch supporters, and dedicated Acquisitions Committee. We are particularly proud to include among these recent acquisitions a commission by Leo Villareal, whose work was the subject of SJMA’s 2010 traveling survey exhibition (the artist’s first); a beautiful watercolor, Untitled (2001) by Eric Fischl that was included in Dive Deep: Eric Fischl and the Process of Painting; Doug Hall’s colossal video installation Chrysopylae (2012); Alan Rath’s new-media creature Absolutely (2012); a suite of six paintings by Clare Rojas; a wonderful donation from Katie and Drew Gibson of 44 works of art (including ten photographs by David Levinthal that will be featured in an exhibition in 2014), and a generous gift of 29 works from Dixon and Barbara Farley, including a stellar work on paper by Jay DeFeo.

My thanks for the accomplishments of the year go to the Museum’s dedicated staff, for whom no challenge is too big or no problem too complex. The creativity people bring to work and their commitment to the public mission of this institution is inspiring and infuses every corner of the Museum. I am grateful for their dedication and the chance to work side by side.

This fiscal year was also the last in Mike Nevens’s tenure as board president. Mike has served as a trustee for over twenty years. This term was his second stint chairing the board, a task he took on during the nadir of the recession. It was my pleasure to work closely with Mike to initiate SJMA’s ambitious strategic plan while also steering through the downturn and nonetheless successfully ramping up public programs. I thank Mike for his leadership, his sound advice, his ready ear, and his inspiring commitment to this Museum—as both board president and as a generous philanthropist alongside his wife Yvonne, who similarly contributes her great energies to SJMA as chair of the Director’s Council. Mike’s counsel and astute political advocacy helped clear the way for SJMA’s resurgence of growth, which our audiences so clearly received with open arms this fiscal year.

Susan Krane Oshman Executive Director

10 San Jose Museum of Art Exhibitions 2012–2013

Llyn Foulkes The Corporate Kiss, 2001 Oil, acrylic, and mixed media 31 ½ x 26 ¼ inches Gift of the Lipman Family Foundation in honor of the San Jose Museum of Art’s 35th anniversary

Renegade Humor February 3, 2012, through July 8, 2012 Curated by Jodi Throckmorton

Bawdy irreverence, iconoclasm, parody, and puns are hallmarks of the work spawned by the art department at the University of California, Davis, in the 1960s and 1970s. In keeping with the counterculture of the time, the tone of this humor was often aggressive and transgressive. Robert Arneson, Roy De Forest, David Gilhooly, Peter VandenBerge, William T. Wiley, and others took new artistic license with the Bay Area’s figurative traditions. They jettisoned what they viewed as the pretension of the East Coast art world and adopted an earthy approach wholly authentic to the West Coast. Their laid-back, flippant attitudes reflected the shifting values of the time and often belied deeper social messages. Similarly, subsequent generations of artists in northern California have enlisted the fetching power of humor to make a point. The narrative paintings of M. Louise Stanley, Robert Colescott, and John Bankston are populated by humorous, even wacky, characters through whom the artists raise issues of gender, race, and sexual identity. In Desire for the Other (2004), a thirty-foot long, millipede-shaped red couch stuffed with household objects, Brian Goggin comments on our insatiable desire for “things.” Walter Robinson’s larger-than-life, hot-pink, melting animal cookies point to the realities of global warming. SJMA invited artists Kathy Aoki and Imin Yeh to make new works, inspired by the notion of Renegade Humor, just for this exhibition. Also included were works by Ray Beldner, Squeak Carnwath, Enrique Chagoya, Robbie Conal, Llyn Foulkes, Viola Frey, Jane Hammond, Lynn Hershman Leeson, Evri Kwong, Marilyn Levine, Bruce Nauman, Dennis Oppenheim, Nathan Redwood, Walter Robinson, and Richard Shaw.

11 Sandow Birk Canto XVI, 130-131: The Rise of Greyon, from the series, “Dante’s Inferno,” 2003 Black and white lithograph 15 x 12 inches Gift of Peter and Beverly Lipman Photo courtesy of the artist

To Hell and Back: Sandow Birk’s Divine Comedy February 18, 2012, through September 16, 2012 Curated by Rory Padeken

Police helicopters descend upon the streets of Los Angeles. Gas-guzzling SUVs overtake the streets of San Francisco. Fast-food emblems and corporate logos dominate the American landscape. Is it the 24- hour news channel, or a 21st-century take on a 14th-century classic? In 2003, artist Sandow Birk (with writer Marcus Sanders) relocated Dante Alighieri’s epic poem The Divine Comedy into contemporary urban America. In his illustrations for the three books (Inferno, Purgatorio, and Paradiso), Birk depicted Dante as a sneaker- and hoodie-clad slacker. Accompanied by the ancient Roman poet Virgil, Dante journeys through the circles of Hell to Purgatory and Paradise, presented by Birk as versions of modern American cities.

Each meticulously drawn image incorporates a descriptive caption written in contemporary American vernacular. Birk transformed a centuries-old classic into an imaginary narrative with political relevance for today’s audiences. This exhibition featured works from the Museum’s permanent collection.

12 Frank Lobdell 2.22.93–4.8.93 Bleeker, 1993 Oil on canvas 84 × 120 inches Gift of Morgan and Betty Flagg—The Morgan Flagg Administrative Trust Photo: San Jose Museum of Art

Frank Lobdell: Wonderland March 10, 2012, through August 5, 2012 Curated by Rory Padeken

Frank Lobdell conjured dreamlike landscapes of mystery and longing. His images are simultaneously mechanical yet anthropomorphic. Though best known for his intense, brooding paintings and personal symbology, Lobdell has in recent years given color primary importance in his work. Frank Lobdell: Wonderland examined the evolution of the artist’s work and the ways in which he organized his forms and figures in space. Ascension (the upward, often diagonal movement of visual elements) is a common characteristic of Lobdell’s paintings. The rising forms generate a sense of uplifting movement from one part of the canvas to the next. Ascension is associated with other abstract expressionist artists, particularly Clyfford Still, whose work influenced Lobdell’s early paintings. Lobdell, however, made the concept completely his own. His complex system of signs and symbols gives his work a uniquely personal quality of expression that defies easy definition. His paintings suggest a transcendent spirituality that reveals the reflective manner in which the artist worked. Lobdell’s monumental painting 2.22.93-4.8.93 Bleeker (1993) was the keystone of this exhibition. It was accompanied by a selection of his prints, drawings, and paintings from the 1960s to the 1990s that were recently given to the Museum from Morgan and Betty Flagg and the Morgan Flagg Administrative Trust.

13 Betsabeé Romero Espiral Sin Fin, 2008 5 carved tires 33 7/16 × 33 7/16 × 78 ¾ inches Courtesy the artist Photo: courtesy the artist

Mexicanismo through Artists’ Eyes March 30, 2012, through September 23, 2012 Guest curated by Kristen Evangelista, former associate curator, now director, University Galleries, William Paterson University, Wayne, New Jersey

Traditional versus cutting-edge, high-brow versus low-brow. A new generation of Mexican and Mexican- American artists is fascinated by these potentially contradictory concepts. The artists whose works were featured in this exhibition draw inspiration from Mexico’s deep well of visual culture. Their references include folk art, popular culture, and vernacular craft traditions as well as contemporary idioms. For example, the art collective La Malagua remade the classic Mexican card game lotería, while Gabriel Kuri re-created sales receipts from Superama (Walmart) as fine tapestries.

This exhibition included works by artists who enlist traditional, refined artisan’s techniques (such as weaving and ceramics) to challenge today’s mass-market consumer culture alongside the work of artists who transform the most expendable materials into art through their handiwork. For example, Mexico City-based artist Betsabeé Romero carves tires with pre-Columbian icons and symbols in order to satirize Mexico’s machismo car culture. These artists share an interest in hybrid art forms and in the intersection of the past and the present.

SJMA commissioned new works from Natalia Anciso (Oakland, California) and Romero for this exhibition, which also included works by Margarita Cabrera (El Paso, Texas), Enrique Chagoya (San Francisco), Colectivo “La Malagua” (Puerto Vallarta, Mexico), Jamex and Einar de la Torre (San Diego, California, and Ensenada, Mexico), Franco Mondini-Ruiz (San Antonio, Texas), Gabriel Kuri (Mexico City), and Máximo González (Mexico City).

14 Elmer Bischoff Two Women in Vermillion Light, 1959 Oil on canvas 67 ½ x 67 ½ inches Gift of Ann Marie and Averill Mix, in honor of the San Jose Museum of Art’s 35th anniversary

Local Color July 26, 2012, through January 13, 2013 Curated by Rory Padeken

From the color of our cars to the colors we choose to wear, one thing is certain: our preference for particular colors is a personal one. Treatises have been written on the psychology and spirituality of color, and theories abound on how colors are named or created. For artists, color may be a vehicle for pure pleasure; for shaping the liveliness of a composition; or for invoking a particular emotional tone or volume. Local Color, drawn from the Museum’s permanent collection, explored the primacy of color in a range of works, from Alexander Calder’s whimsical mobiles to Elmer Bischoff’s luscious, light-filled canvases to David Levinthal’s slick, color-saturated photographs of Barbie dolls. Also featured were works by artists who consider the quiet, meditative nuances of black and white. This exhibition encouraged viewers to look at color as content. This exhibition also included work by Anne Appleby, Josef Albers, Charles Arnoldi, Karl Benjamin, Fletcher Benton, Linda Besemer, Edward Corbett, Mary Corse, Tony DeLap, Bean Finneran, Sam Francis, Sonia Gechtoff, James Hayward, James Hyde, Paul Jenkins, Karl Kasten, Amy Kaufman, James Kelly, Markus Linnenbrink, An Te Liu, Helen Lundeberg, Don Martin, Richard Misrach, Sandeep Mukherjee, Lee Mullican, Nathan Oliveira, Gordon Onslow-Ford, Gustavo Ramos Rivera, Adrian Schiess, Shirley Shor, Hassel Smith, Fred Spratt, Raimonds Staprans, Amy Trachtenberg, Leo Villareal, and Patrick Wilson.

15 Ranu Mukherjee Radiant Chromosphere (move towards what is approaching), 2012 Hybrid film on DVD Dimensions Variable Gift of Barbara and William Hyland

Beta Space: Ranu Mukherjee: Telling Fortunes August 18, 2012, through January 13, 2013 Curated by Jodi Throckmorton

We tend to think of nomads as age-old tribes who wandered the worlds’ deserts and plains in search of food, water, resources, or trade. But who are the nomads of the 21st century—migrant laborers, expatriates, transnationals, global high-tech virtuosos, international students, refugees, those who commute and relocate for work?

Ranu Mukherjee is fascinated by the idea of the contemporary nomad and the experience of repeated relocation that is common for so many of us today. What better place than Silicon Valley—with its rich history of immigration, itinerant workers, dot-com booms and busts, and outsourcing—to explore this updated notion of the nomad.

Memory, places, and possessions all contribute to our mutable sense of a “home” as something that you can take with you. For the ongoing project that she calls the “nomadic archive,” Mukherjee collected images that represent people’s very personal experiences of moving or up-rootedness. Mukherjee then elegantly rendered the images in ink and paint on paper. The images contributed range from an airplane cabin to Rajasthani shoes (traditional Indian shoes). For Telling Fortunes, Mukherjee gathered diverse examples of contemporary nomadism in Silicon Valley – for example the bees at Happy Hollow Park and Zoo, San Jose; immigrants from Bangladesh and Pakistan; and the Buddhist temples’ followers in the area. Mukherjee wants her art to reflect the idea that “images are collectively made.” For her, such creativity—a coming-together of the experiences of a community—generates positive energy and auspiciousness.

Via painting, digital animation, and photography, Mukherjee transformed this crowd-sourced material into brilliantly colorful imagery. The result is a dazzling mix of fact and fantasy; digital and analog; and the spiritual and material.

Ranu Mukherjee: Telling Fortunes was presented by SJMA in conjunction with the 2012 ZERO1 Biennial: Seeking Silicon Valley.

16 Mark Dean Veca Son of Phantasmagoria, 2012 Acrylic and latex on walls, bean bag chairs, custom table 14 × 49 × 49 feet Commissioned by the San Jose Museum of Art

Raging Opulence: Mark Dean Veca September 29, 2012, through March 31, 2013 Curated by Mónica Ramírez-Montagut

MAD Magazine met Versailles in Mark Dean Veca’s loud yet regal salon installation. Veca bridges the opulence of 18th-century Toile de Jouy wallpaper and the renegade attitude of 20th-century cartoons, comics, and street art. Last fall, he embellished the architecture of the Davies Gallery in the historic wing of the San Jose Museum of Art with an expansive mural. Veca integrates visceral and undulating shapes into elaborate patterns akin to the ornamental wall treatments used in upper-class homes of the 18th century. Inspired by the intricacies of toile, Veca lays out a convoluted pattern of his own: he painstakingly renders larger-than-life biomorphic motifs with the exaggerated black outlines typical of comics and graphic novels.

Veca grew up in Livermore, California, and the influence of the Bay Area’s underground comix scene is evident in his psychedelic murals. He framed his intense, spectacular palette of fiery reds and oranges with an engulfing, white bubble shape that suggests (as in comix vocabulary) that the work is just a thought or a colorful hallucination. With his whitewashed lighting and bean-bag seating, Veca evoked an anti-gravitational space. Visitors were invited to lounge and peruse all sorts of uncanny motifs embedded into the faux-historic wallpaper pattern. Ultimately, Veca—with his gestural, expressionistic mark- making and cartoonish vocabulary—delivers the imagery of graffiti via his classic, virtuoso drawing ability.

17 Eric Fischl Scenes from Late Paradise: The Stupidity, 2006–2007 Oil on linen 84 × 108 inches Collection of the Hall Art Foundation

Dive Deep: Eric Fischl and the Process of Painting October 27, 2012, through May 12, 2013 Co-curated by Jodi Throckmorton and Harry Philbrick Catalogue: Dive Deep: Eric Fischl and the Process of Painting, published by the Pennsylvania Academy of Fine Arts

What is it like to look at the world with the sharpened powers of observation and insight of a masterful painter?

Last fall, SJMA offered visitors the rare opportunity to look in depth at the practice of painting through the work of one of the most influential American painters of our time. Eric Fischl’s art is grounded in his keen understanding of the historical language and the craft of painting. For him, tradition serves as an infrastructure for innovation: he uses age-old academic preparatory practices side by side with digital photography and Photoshop. Dive Deep invited you to track Fischl’s ever-adapting technical practice and his path from concept to completed work.

Drawn from major public and private collections in the United States, the paintings were accompanied by more than one hundred beautifully fluid studies in various media: drawings, oil sketches, sculptures, digital composites, photographs, and prints—many never previously seen by the public. They illustrate the evolving, expressive power of Fischl’s subjects as he juggles compositional components, figures, props, and narrative tension. Schooled as an abstract painter and self-taught as a representational artist, Fischl mines historical painting and photography for source material. His approach to the human figure is rooted in esteemed figurative traditions, yet given a distinctly radical 21st-century twist of content. To illustrate this aspect of his art, the exhibition included a group of photographs by the artist Thomas Eakins (1844–1914) and his circle, which Fischl has referenced, and at times quoted, in his work.

This exhibition explored the making of painting as well as the conceptual underpinnings of the artist’s narrative. It offered visitors a profound, insider’s understanding of the process of painting and of the careful act of looking.

18 Sam Rodriguez Text Message, 2012 Acrylic paint on staircase wall Commissioned by the San Jose Museum of Art

Mark My Word November 10, 2012, through November 13, 2013 Curated by Lucy Larson

Consider the letter. At its most basic, it consists of one or more straight or curved lines, sometimes touching or forming geometric shapes. With these simple lines, humans build complex codes, communicate with each other, and grapple with the mysteries of the universe. The artists featured in Mark My Word use letters, challenging us to see them for what they really are, objects to be played with, read literally or not, or combined to enhance a story.

At the San Jose Museum of Art, we believe learning is a lifelong pursuit. The Museum serves as a dynamic resource for all those who are curious: school children and their educators, multigenerational families, creative adults, university students and faculty, and community groups. The Koret Family Gallery is inspired by Let’s Look at Art, a free outreach program in K-12 classrooms where volunteers lead engaging and interactive discussions about art.

19 Huang Yan Spring, from the series "The Four Seasons," 2005 Chromogenic print 39 × 31 5/16 inches Collection of Dale and Doug Anderson Photo: Kelly Marin, Inc.

Rising Dragon: Contemporary Chinese Photography February 2, 2013, through June 30, 2013 Organized by the Katonah Museum of Art, New York Catalogue: Rising Dragon: Contemporary Chinese Photography, published by the Katonah Museum of Art

In 2000—the Year of the Dragon in the Chinese zodiac—drastic changes in China’s social and political landscape made China the world’s fastest growing economy. This feat was all the more astonishing because barely a decade before, China was largely an agriculturally based economy. By the next Year of the Dragon, in 2012, the country would boast some of the world’s largest cities, with tall buildings, vast shopping malls, and slick airport terminals. As China continues to expand its urban centers and increase its industrial output, many of its citizens struggle to hold on to traditional ways of life in the face of such swift modernization.

Rising Dragon: Contemporary Chinese Photography explored this impressive period of transition through more than one hundred photographs by 36 artists from mainland China. Most of the these images were made between the Dragon years of 2000 and 2012—an auspicious time in Chinese cosmology and a period during which many of these artists came of age. They revive social-documentary photography and experiment with new, digital photographic processes to explore common concerns: changes in social self-identity, the alteration of the natural environment, and the erosion of cultural heritage in an increasingly globalized society. Undercurrents of China’s rich artistic legacy are present in many of the portraits, landscapes, cityscapes, and scenes of daily modern life. Yet these images also often seem to fast-forward into the future with a very “now” visual style filled with humor, artifice, and pop excess.

In his series “Sitting on the Wall” (2000–2010), Wang Feng documented a decade of gradual yet radical transformation of a city skyline. Zhou Hai captured the environmental impact of untrammeled economic growth in the series “The Unbearable Heaviness of Industry” (2005). Wang Wusheng reached back into China’s artistic past to depict the Yellow Mountains in photographs that recall traditional landscape paintings of the Song dynasty (960–1279). The duo Liyu + Liubo imagined surreal scenes based on real tabloid headlines, as in Chutian Golden Paper 2006-04-30, Hair Salon Wonder—Hairdressing while Smashing (2006).

20 Many of these photographers have well-established careers, yet they have only recently come to the attention of galleries and museums in the United States. Included in the exhibition were works by Adou, Cao Fei, Chen Qiulin, Chen Wei, Huang Yan, Jiang Pengyi, Li Lang, Li Wei, Liu Ren, Liu Zheng, Liyu + Liubo, Lu Guang, Lu Hao, Maleonn (Ma Liang), Muge, O Zhang, Peng Rong, Qiu Zhijie, Rong Rong, Sun Ji, Tamen, Tian Taiquan, Wang Jin, Wang Qingson, Wang Wusheng, Wang Fen, Xu Zhen, Yang Yi, Yao Lu, Yu Haibo, Zhang Huan, Zhang Lijie, Zhang Ziao, and Zhou Hai.

21 Mail Order Brides/M.O.B. Fiebre Amarilla V (Las Odaliscas), 2011 Archival pigment prints mounted on archival substrate (sintra) Courtesy the artists

New Stories from the Edge of Asia: This/That February 21, 2013 through August 18, 2013 Curated by Mónica Ramírez-Montagut

The artists in New Stories from the Edge of Asia: This/That take on identity issues (and Asian identity in particular) by creating narratives that often are born from loosely autobiographical, conflicting situations. Using video, film, multimedia works, photographs, and performance art, they conjure temporary identities that reflect the constant struggle, negotiation, and precarious balance between different worlds. The exhibition included works by Erica Cho, Mike Lai, Candice Lin, the artists’ collective Mail Order Brides/M.O.B. (Eliza Barrios, Reanne Estrada, and Jenifer Wofford), and Tran, T. Kim-Trang. “New Stories from the Edge of Asia” is an ongoing exhibition series that presents work by artists from Pacific Rim countries and cultures who explore new narrative territory using animation, digital techniques, video, and film.

22 Roberto Matta Les naufrageants, from the portfolio “Hom’mere II – L’Eautre,” 1974 –75 Aquatint etching on paper 25 ¾ x 19 ½ inches Gift of James Hayward Photo: Douglas Sandberg

Swans, Swine, and Sirens April 18, 2013, through December 1, 2013 Curated by Rory Padeken

Tales of monsters, heroes, and gods found in classical Greek mythology have captivated audiences for over three millennia. This exhibition drawn from the Museum’s permanent collection featured works on paper by artists who have used stories from the Odyssey and ancient Greek myths to address challenging issues such as race, culture, and the psychological effects of war, or as a vehicle to explore desire and the universal subconscious. This exhibition in the Davies Gallery included works by Jeanne Aurel-Schneider, Romare Bearden, Red Grooms, Erle Loran, Roberto Matta, Reuben Nakian, Fritz Scholder, and Hans Sieverding. Also featured was Let’s Play!: Ancient Greek Punishment, a video game designed by game theorist Pippin Barr, and Ulysses by James Joyce from the Bancroft Library, University of California, Berkeley, illustrated by Henri Matisse.

23 Annie Leibovitz Niagara Falls, Ontario, Canada, 2009 24 3/8 x 35 ¼ inches Courtesy the artist

Annie Leibovitz: Pilgrimage June 6, 2013, through September 8, 2013 Organized by the Smithsonian American Art Museum, Washington, DC Book: Annie Leibovitz: Pilgrimage, published by Random House, New York

Abraham Lincoln’s hat and gloves. Sigmund Freud’s couch. Emily Dickinson’s only surviving dress. Elvis Presley’s 1957 Harley Davidson. These are just some of the revealing personal possessions of notable historical figures that Annie Leibovitz photographed on a journey through the United States and Great Britain between 2009 and 2011. The photographs featured in this nationally touring exhibition vividly demonstrate Leibovitz’s curiosity and fascination with history and its heroes.

Visitors familiar with Leibovitz’s staged and carefully lit portraits made on assignment for magazines and for advertising clients may be surprised by the new discoveries in this exhibition. In these seventy photographs, taken simply because Leibovitz was moved by the subject, the artist captured the poignancy of these talismans and landmarks of American history with remarkable acumen.

Pilgrimage included photographs that Leibovitz took at iconic locations in Northern California, including the John Muir National Historic Site in Martinez and Ansel Adams’s darkroom in Carmel.

Pilgrimage was an evocative and deeply personal statement by a photographer whose career now spans more than forty years and encompasses a broad range of subjects and stylistic influences.

24 Hung Liu Still from Between Sky and Earth, 2013 Video, 46-second loop Dimensions variable Courtesy the artist and Rena Bransten Gallery

Questions from the Sky: New Work by Hung Liu June 6, 2013, through September 29, 2013 Curated by Jodi Throckmorton

Hung Liu’s remarkable and lush paintings (often based on historical photographs from China) have made her one of the most beloved artists represented in SJMA’s collection—and one of the most important Chinese-American artists working today. Hung Liu has long paid witness to the tribulations of everyday people, past and present, and their hidden stories of social injustice. She grapples with issues of self, society, and politics—as well as the challenge of reconciling disparate cultures. This exhibition showcased surprising new, intimate work by Liu. She contemplated the cycles of life, death, and memory in an installation of three videos entitled Black Rain; Candle; and Between Sky and Earth (all 2013). The videos are based on snapshots made daily with her iPhone over the course of the year following her mother’s death. These simple images of burning candles; fallen birds and deer; Buddha’s hand (citrus) fruit; and cloud formations poetically reflect Liu’s contemplative state of mind. For Liu, the images provoke questions of how we remember those who have passed. Liu also created site-specific wall paintings in the gallery. The exhibition was a meditation on the universal circle of birth, life, and death—on nature’s mortality and immortality. Born in Changchun in 1948, a year before the founding of the People’s Republic of China, Liu experienced the Cultural Revolution first hand. She came to the United States in 1984 to attend the University of California, San Diego. One of the first people from mainland China to study abroad and pursue an art career, she moved to Northern California in 1990 to join the faculty at Mills College, Oakland, where she is a professor. Questions from the Sky was SJMA’s contribution to a Bay Area tribute to Hung Liu’s work that began with Mills College Art Museum’s presentation of Hung Liu: Offerings (January 23–March 17, 2013) and the Oakland Museum of California’s Summoning Ghosts: The Art of Hung Liu (through June 30, 2013).

25 26 Loans from the Permanent Collection 2012–2013

Chester Arnold Entropic Landscape, 1999 Oil on canvas 72 x 94 inches Gift of Dick and Cb Watts, 2008.15 Chester Arnold: Accumulation and Dispersal, June 15 – August 11, 2013 American University Museum at the Katzen Arts Center, Washington, DC

Chester Arnold The Fate of the Written Word, 2008 Oil on linen 64 x 72 inches Gift of Elizabeth and Byron Ryono, 2008.16 Chester Arnold: Accumulation and Dispersal, June 15 – August 11, 2013 American University Museum at the Katzen Arts Center, Washington, DC

Chester Arnold Thy Will be Done, 2006 Oil on linen 72 x 84 inches Gift of the Lipman Family Foundation and Deborah and Andy Rappaport, 2006.14 Chester Arnold: Accumulation and Dispersal, June 15 – August 11, 2013 American University Museum at the Katzen Arts Center, Washington, DC

Sandow Birk San Quentin, State Prison, San Quentin, CA, 2000 Oil and acrylic on canvas 66 x 90 inches Gift of the Lipman Family Foundation, 2003.01 Geographies of Detention: From Guantánamo to the Golden Gulag, June 1– September 7, 2013 California Museum of Photography at the University of California, Riverside/ARTSblock

Enrique Chagoya Their Freedom of Expression…The Recovery of Their Economy, 1984 Charcoal and pastel on paper 80 x 80 inches Gift of the artist with additional support from the Collection Committee, in honor of the San Jose Museum of Art’s 35th anniversary. 2003.39 Recession Watchdog: The Work of Enrique Chagoya, May 18 – July 6, 2013 Kala Art Institute and Gallery, Berkeley, CA

27 Llyn Foulkes The Corporate Kiss, 2001 Oil, acrylic, and mixed media 31 ½ x 26 ½ inches Gift of the Lipman Family Foundation in honor of the San Jose Museum of Art’s 35th Anniversary, 2003.03 Llyn Foulkes, February 3 – May 19, 2013, Hammer Museum, University of California, Los Angeles Llyn Foulkes, June 12 – September 8, 2013, New Museum, New York

Llyn Foulkes The New Renaissance, 1991 Oil, acrylic, wood, and recycled material on panel 87 x 156 x 4 inches Gift of the Lipman Family Foundation, in honor of the San Jose Museum of Art's 35th anniversary, 2004.20 Llyn Foulkes, February 3 – May 19, 2013, Hammer Museum, University of California, Los Angeles Llyn Foulkes, June 12 – September 8, 2013, New Museum, New York

Katy Grannan Anonymous, Los Angeles, 2008 Pigment print on cotton rag paper, mounted to Plexiglas, Ed. 1/3 39 x 29 inches Museum purchase with funds contributed by the Council of 100 and the Collection Committee, 2012.03.01 The Sun and Other Stars: Katy Grannan and Charlie White, July 22 – October 14, 2012 Los Angeles County Museum of Art

Il Lee Untitled #204, 2004 Ballpoint pen and acrylic on canvas 74 x 64 inches Gift of Kyung H. Yoon, Maryles Casto, Catherine Sunyoung Kwon, George Tahn Kwon, Sophia Oh Kim, Dr. Seung Kim, Claire Chang, Sai Kang, Simon Kang, Jr., Tina Lee and Ken Kyunam Choi, 2005.24 The Moment for Ink, February 26 – March 23, 2013 San Francisco State University Art Gallery

Hung Liu Resident Alien, 1988 Oil on canvas 60 x 90 inches Gift of the Lipman Family Foundation, 2005.32 Summoning Ghosts: The Art and Life of Hung Liu, March 16 – June 30, 2013. Oakland Museum of California

28 Laurie Long Mussel Grab from the series, “Dating Surveillance Project,” 1998 Gelatin silver print on paper 20 x 24 in., Ed. 2/5 Gift of Anonymous. 2005.19.01 PHOTO ID, March 30–July 7, 2013 Santa Cruz Museum of Art and History at the McPherson Center, California

Laurie Long Compact, from the series “Dating Surveillance Project”, 1998 Gelatin silver print on paper, Ed. 2/5 20 x 24 in. Museum purchase with funds contributed by the Collection Committee. 2005.19.02 PHOTO ID, March 30–July 7, 2013 Santa Cruz Museum of Art and History at the McPherson Center, CA

Laurie Long “Dating Surveillance Project” pinhole camera footage, 1998 – 2005 DVD compilation, Ed. 1/15 Museum purchase with funds contributed by the Collection Committee. 2005.19.03 PHOTO ID, March 30–July 7, 2013 Santa Cruz Museum of Art and History at the McPherson Center, California

Barbara Rogers Big Sur, 1991 Mixed media on paper 29 ¾ x 21 ⅞ inches Gift of the artist and the Frederick Spratt Gallery, 1996.02 Barbara Rogers: The Imperative of Beauty, October 6, 2012–January 13, 2013 Tucson Museum of Art, Arizona

29 San Jose Museum of Art Acquisitions 2012–2013

Anne Appleby West I, 2002 Oil and wax on canvas, mounted on wood 52 x 72 inches Gift of Gallery Paule Anglim 2012.04.01

Peter Alexander Sunset Watercolor, 1981 Watercolor on paper 9 x 11 ½ inches Gift of Katie and Drew Gibson 2012.08.01

Robert Arneson Untitled (Soft Bricks), 1978 Terracotta 18 x 24 x 6 inches Gift of Katie and Drew Gibson 2012.08.02

Milton Avery Nude (Blue and White), 1960 Woodcut on paper 3 ½ x 10 ½ inches Gift of Dixon and Barbara Farley 2012.05.01

Joachim Bandau Untitled, 2002 – 2003 Watercolor on paper 22 ¼ x 16 inches Gift of Dixon and Barbara Farley 2012.05.02

30 James Barsness All Souls Surfs Up Green Thumb Buddha, 2008 Acrylic and mixed media on canvas 90 ¾ x 66 ¾ inches Gift of TJ Dermot Dunphy and the Dunphy Family Foundation 2012.10

David Bates Clovis Lee, 1991 Acrylic on bronze 27 x 21 x 17 inches Gift of Katie and Drew Gibson 2012.08.03

David Best Mary in the Bushes, 1990 Found objects 27 ½ x 21 ½ x 16 inches Gift of Katie and Drew Gibson 2012.08.04

Willie Birch For the Mau Mau, 1992 Paper mache, mixed media 20 x 18 x 13 inches Gift of Katie and Drew Gibson 2012.08.05

31 Willie Birch Pensive, 1992 Paper mache, mixed media 76 x 20 x 18 inches Gift of Katie and Drew Gibson 2012.08.06

Sandow Birk Universal Declaration of Human Rights, from the series “Imaginary Monuments,” 2013 Direct gravure etching on handmade gampi paper, backed with sekishu kozo paper Ed. 1/25 Copublished by Paul Mullowney and Catharine Clark Gallery 63 x 48 inches Gift of the Lipman Family Foundation 2013.06.01

Tom Bolles Post-Op Exam II, 1993 – 95 Epoxy over acrylic on canvas on aluminum 12 ½ x 12 inches Gift of Dixon and Barbara Farley 2012.05.03a-b

Michael Brennan Untitled, 2001 Ink and wax on paper 9 x 13 ½ inches Gift of Dixon and Barbara Farley 2012.05.04

Michael Brennan Untitled, 2001 Ink and wax on paper 9 ¼ x 13 inches Gift of Dixon and Barbara Farley 2012.05.05

Michael Brennan Untitled (White on Black), ca. 2004 Oil and wax on canvas 18 x 24 inches Gift of Dixon and Barbara Farley 2012.05.06

James Brooks Untitled (L), 1955 Oil on canvas 30 x 34 ¼ inches Gift of Dixon and Barbara Farley 2012.05.07

John Chiara Fort Barry at Bonita Point (right), 2011 Unique photograph 50 x 70 inches Museum purchase with funds contributed by the Council of 100 2013.05

Bruce Conner Untitled, 1970 Lithograph on paper Ed. 27/90 10 ½ x 7 inches Gift of Dixon and Barbara Farley 2012.05.08

33 Jay DeFeo Three Mile Island #2, from the series “One O’clock Jump,” 1979 Mixed media, gouache, and ink on paper 40 x 30 inches Gift of Dixon and Barbara Farley 2012.05.09

Amy Ellingson Variation/Mutation (black, red, blue, white), 2007 – 2008 Oil and encaustic on two panels 36 x 144 x 2 inches Gift of Barbara and William Hyland 2012.07.03a-b

Eric Fischl Untitled, 2001 Watercolor on paper 59¾ x 40½ inches Museum purchase with funds contributed by the Acquisitions Committee 2013.10.03

Helen Frankenthaler Cedar Hill, 1983 Woodblock on paper 20 ¼ x 24 ¾ inches Gift of Katie and Drew Gibson 2012.08.08

Lucy Gaylord-Lindholm Bug Virgin, 1999 Oil on linen 8 ½ x 8 ½ inches Gift of Katie and Drew Gibson 2012.08.09

34 Lucy Gaylord-Lindholm Snow White and the Virgin, 1999 Oil on linen 10 ¼ x 11 ½ inches Gift of Katie and Drew Gibson 2012.09.10

David Gilhooly Box of Candy, 1989 Ceramic 8 ½ x 10 x 2 ¾ inches Gift of Katie and Drew Gibson 2012.08.11

David Gilhooly Hot Dog Frog in Shea Stadium, ca. 1977 Ceramic 16 x 12 x 6 inches Gift of Katie and Drew Gibson 2012.08.12

Gauri Gill Jannat, Barmer, from the series "Notes from the Desert," 1999 – 2010 Gelatin silver print 24 x 30 inches Gift of Wanda Kownacki, the Lipman Family Foundation, and Dipti and Rakesh Mathur 2012.01.01

Gauri Gill New homes after the flood, Lunkaransar, from the series "Notes from the Desert," 1999 – 2010 Gelatin silver print 30 x 40 inches Gift of Wanda Kownacki, the Lipman Family Foundation, and Dipti and Rakesh Mathur 2013.01.02

35 Gauri Gill Urma and Nimli, Lunkaransar, from the series "Notes from the Desert," 1999 – 2010 Gelatin silver print 24 x 30 inches Gift of Wanda Kownacki, the Lipman Family Foundation, and Dipti and Rakesh Mathur 2013.01.03

Mineko Grimmer Mahogany Music Box, 1989 Mixed media Dimensions variable Gift of Katie and Drew Gibson 2012.08.13

Red Grooms Winged Victory of Samothrace, 1976 Watercolor and ink on paper 13 ¾ x 10 ¼ inches Gift of Dixon and Barbara Farley 2012.05.10

Doug Hall Chrysopylae, 2012 Two-channel installation with sound 28 minutes Museum purchase with funds contributed by the Lipman Family Foundation and the Acquisitions Committee 2012.09

James Hayward Fire, 1992 Oil and liquium on canvas 21 x 16 inches Gift of Dixon and Barbara Farley 2012.05.11

George Herms Drama, 1990 Assemblage 37 x 24 x 24 inches Gift of Katie and Drew Gibson 2012.08.14

Robert Hudson No, 1985–86 Unique polychrome bronze 28 x ¾ x 20 x 14 ¼ inches Gift of Katie and Drew Gibson 2012.08.15

Jack Jefferson #1, 1984 Aquatint with softground and drypoint on paper Ed. 3/42 30 ½ 22 ½ inches Gift of Dixon and Barbara Farley 2012.05.12

James Jefferson #3, 1984 Aquatint with burnishing and drypoint on paper Ed. 3/42 30 ½ x 22 ½ inches Gift of Dixon and Barbara Farley 2012.05.13

Jack Jefferson #20, from the series “Clementina,” 1974 Acrylic on paper 34 ¾ x 35 ½ inches Gift of Dixon and Barbara Farley 2012.05.14

Jack Jefferson March ’86, 1986 Mixed media on paper 44 ½ x 33 ½ inches Gift of Dixon and Barbara Farley 2012.05.15

37 Jack Jefferson Untitled #10, 1969 Wax, pencil, and ink on paper 29 x 22 ½ inches Gift of Dixon and Barbara Farley 2012.05.16

Robin Kandel lakewater 2-7, 2012 Acrylic on panel 51 x 48 inches Gift of the artist and Andrea Schwartz Gallery 2013.07

Alex Katz Untitled (Nancy), from the series “Jane Erman’s Class,” 1972 Etching and aquatint on paper Ed. 25/50 6 x 8 ¾ inches Gift of Dixon and Barbara Farley 2012.05.17

Michael Kennedy Late Night Flier, 1973 Acrylic on paper 31 x 25 ½ inches Gift of Dixon and Barbara Farely 2012.05.18

Lisa Kokin Company, 2000 Photographs, mixed media on paper 29 x 2 x ¼ inches Gift of Katie and Drew Gibson 2012.08.16

38 David Levinthal Untitled, from the series “Airport,” 1996 Cibachrome print 16 x 20 inches Gift of Katie and Drew Gibson 2012.08.17

David Levinthal Untitled, from the series “Airport,” 1996 Cibachrome print 16 x 20 inches Gift of Katie and Drew Gibson 2012.08.18

David Levinthal Untitled, from the series “Airport,” 1996 Cibachrome print 16 x 20 inches Gift of Katie and Drew Gibson 2012.08.19

David Levinthal Untitled, from the series “Airport,” 1996 Cibachrome print 16 x 20 inches Gift of Katie and Drew Gibson 2012.08.20

David Levinthal Wild West 13-94, 1994 Vintage Polaroid Polacolor ER Land film 29 x 22 inches Gift of Katie and Drew Gibson 2012.08.21

39 David Levinthal Wild West Sheriff 11-94, 1994 Vintage Polaroid Polacolor ER Land film 29 x 22 inches Gift of Katie and Drew Gibson 2012.08.22

David Levinthal Wild West #15, N.D. Vintage Polaroid SX-70 print 3 x 3 inches Gift of Katie and Drew Gibson 2012.08.23

David Levinthal Wild West, N.D. Vintage Polaroid SX-70 print 3 x 3 inches Gift of Katie and Drew Gibson 2012.08.24

David Levinthal Blackface #5, 1996 Vintage Polaroid Polacolor ER Land film 29 x 22 inches Ed. 5/5 Gift of Katie and Drew Gibson 2012.08.25

40 David Levinthal Blackface #1, 1996 Vintage Polaroid Polacolor ER Land film 29 x 22 inches Ed. 5/5 Gift of Katie and Drew Gibson 2012.08.26

David Levinthal Blonde Woman Leaning on Post, from the series “XXX,” 1999 Vintage Polaroid Polacolor ER Land film 29 x 22 inches Ed. 1/5 Gift of Katie and Drew Gibson 2012.08.27

David Levinthal Barbie #78 (Sweater Girls 2/5), 1997 Vintage Polaroid Polacolor ER Land film 29 x 22 inches Ed. 2/5 Gift of Katie and Drew Gibson 2012.08.28

David Levinthal Guard Tower, from the series “Mein Kampf,” 1994 Vintage Polaroid Polacolor ER Land film 29 x 22 inches Artist’s proof Gift of Katie and Drew Gibson 2012.08.29

41 Frank Lobdell Untitled, from the series “Dance,” 1972 Oil on paper 11 ½ x 14 ½ inches Gift of Dixon and Barbara Farley 2012.05.19

Richard Lodwig Max Planck Said #3, 1995 Oil on paper, mounted on canvas Two parts: 36 x 40 ½ inches Gift of Dixon and Barbara Farley 2012.05.20a-b

Richard Lodwig Ludlow Variations #8, 2000 Acrylic on board 29 x 23 inches Gift of Dixon and Barbara Farley 2012.05.21a-b

Brice Marden Zen Studies #3, from the series “Cold Mountain,” 1991 Etching and aquatint Ed. 14/35 27 ¼ x 35 inches Gift of Dixon and Barbara Farley 2012.05.22

Brice Marden Gulf, from the portfolio “New York Ten,” 1969 Lithograph Ed. 90/100 20 x 26 inches Gift of Dixon and Barbara Farley 2012.05.23

42 Brice Marden Untitled, from the series “Suicide Notes,” 1972 Ink 11 ½ x 7 ½ inches Gift of Dixon and Barbara Farley 2012.05.24

Brice Marden A, from the portfolio “Ten Days,” 1971 Etching Ed. 11/30 22 x 30 inches Gift of Dixon and Barbara Farley 2012.05.25

Brice Marden Untitled, 1971 (printed 1982) Etching Ed. 7/50 23 x 29 ¼ inches Gift of Dixon and Barbara Farley 2012.05.26

Kara Maria Deployment in Wonderland, 2007 Acrylic on canvas 60 x 80 inches Gift of the artist 2013.08

Ranu Mukherjee Radiant Chromosphere (move towards what is approaching), 2012 Hybrid film 4:59 minutes Gift of Barbara and William Hyland 2012.07.02

43 Ranu Mukherjee Tree of Life (Schinus molle), 2012 Ink on cotton and silk

48 ⅜ x 79 ¾ inches Gift of Barbara and William Hyland 2012.07.01

Donald Nice Predella, 1983 Watercolor on paper 31 x 59 ½ inches Gift of Katie and Drew Gibson 2012.08.30

Nathan Oliveira Kestrel Series #6, 1985 Woodcut monoprint, pastel 40 ½ x 29 ½ inches Gift of Katie and Drew Gibson 2012.08.31

David Ortins Untitled, 1998 Oil and wax on board 15 x 12 inches Gift of Dixon and Barbara Farley 2012.05.27

44 Maria Porges The virtues and vices of history, from the series “History Lessons,” 1998 Wax, wood, applied metal leaf, and glass 13 x 24 x 4 inches Gift of Katie and Drew Gibson 2012.08.32

Sarah Ratchye Twawl en th’e MoonlIt prpl, 2011 Graphite and watercolor 53 x 65 inches Gift of Anne Sconberg and Mark Henderson 2013.03

Alan Rath Absolutely, 2012 Pheasant feathers, aluminum, fiberglass, and custom electronics 15 x 12 x 12 feet Gift of the Lipman Family Foundation 2013.06.02

Clare Rojas Red Dress Lady in Living Room, 2009 Gouache and latex on panel 14 x 11 ¼ inches Gift of Barbara and William Hyland 2013.09.01

Clare Rojas Untitled (Woman holding pierced men), 2004 Gouache and latex on panel 13 x 6 inches Gift of Barbara and William Hyland 2013.09.02

Clare Rojas Tulip Twins (Triptych), 2005 Gouache and latex on panel Three panels, 12 x 14 inches overall Gift of Barbara and William Hyland 2013.09.03a-c

Clare Rojas Untitled (Laughing woman stage), ca. 2004 Acrylic on panel 12 ¼ x 9 ¾ inches Gift of Barbara and William Hyland 2013.09.04

Clare Rojas Untitled (Red feather flower), 2008 Acrylic on panel 12 ½ x 14 inches Gift of Barbara and William Hyland 2013.09.05

Clare Rojas Untitled (Two Quilted Bears), 2005 Mixed media 12 ½ x 9 ½ inches Gift of Barbara and William Hyland 2013.09.06

46 Donald Roller Wilson COOKIE…DRESSED FOR NAUGHTY BETTY’S THIRD BAS MITZVAH…(THE FIRST TWO DIDN’T TAKE)…STANDING AGAINST THE HALLWALL IN BRENDA’S TINY HOUSE AT THE NUT FARM AND, BEING HALF CATHOLIC, HAVING SAID A SPECIAL, BUT INEFFECTIVE PRAYER TO THE VIRGIN…(TO PROTECT HER DRESS FROM THE HEAT OF THE MOMENT), 2000 Oil on canvas 22 x 20 inches Gift of Katie and Drew Gibson 2012.08.44

Raymond Saunders Untitled, 1990 Mixed media 82 ¾ x 66 inches Gift of Katie and Drew Gibson 2012.08.33a-d

Raymond Saunders Untitled (Title to Follow 12), 1993 Mixed media on wood and canvas 81 ¾ x 78 ¾ inches Gift of Deborah and Andy Rappaport 2013.02.01a-b

47 Richard Shaw Untitled (US Mail package), 1983 Ceramic 6 x 10 ¼ x 7 ¼ inches Gift of Katie and Drew Gibson 2012.08.34

Richard Shaw As Is, 1998 Porcelain, decal overglaze 43 x 14 ½ x 21 inches Gift of Deborah and Andy Rappaport 2013.02.02

Richard Shaw Handle This, 2000 Porcelain, decal overglaze 37 ¼ x 20 ½ x 9 ¾ inches Gift of Deborah and Andy Rappaport 2013.02.03

Peter Shelton opensleeve, 1985 Graphite on vellum 17 ¾ x 24 ¼ inches Gift of Katie and Drew Gibson 2012.08.35

Katherine Sherwood Home Computer, 1981 Oil on canvas 60 x 36 inches Gift of Gallery Paule Anglim 2012.04.02

David Simpson Day Dream-Monet, 1972 Acrylic on paper 13 ½ x 16 ½ inches Gift of Dixon and Barbara Farley 2012.05.28

Inez Storer Heart Throb, 1993 Oil on canvas 60 x 36 inches Gift of Katie and Drew Gibson 2012.08.36

49 Stephanie Syjuco The International Orange Commemorative Store (A Proposition), 2012 Mixed media installation Dimensions variable Commissioned by the FOR-SITE Foundation as part of the exhibition “International Orange” and on the occasion of the Golden Gate Bridge’s 75-Year Anniversary Gift of the artist and Catharine Clark Gallery 2013.04

Irv Tepper Untitled, 1994 Selenium-toned silver print 14 x 17 inches Gift of Katie and Drew Gibson 2012.08.37

Irv Tepper Untitled, 1994 Selenium-toned silver print 14 x 17 inches Gift of Katie and Drew Gibson 2012.08.38

Irv Tepper Untitled, 1994 Selenium-toned silver print 14 x 17 inches Gift of Katie and Drew Gibson 2012.08.39

Irv Tepper Untitled, 1994 Selenium-toned silver print 14 x 17 inches Gift of Katie and Drew Gibson 2012.08.40

Irv Tepper Nightride, 1994 Selenium-toned silver print 14 x 17 inches 2012.08.41

50 Irv Tepper Untitled, 1994 Selenium-toned silver print 14 x 17 inches Gift of Katie and Drew Gibson 2012.08.42

Leo Villareal Untitled (for San Jose), 2012 LED’s, custom software, and electrical hardware 32 x 68 x 6 inches Commissioned and purchased with funds contributed by the Acquisitions Committee 2012.06

Darren Waterston Corpus No.1, 2010 Oil on panel 48 x 60 inches Gift of Barbara and William Hyland 2012.11.01

Darren Waterston Corpus No.2, 2010 Oil on panel 48 x 60 inches Gift of Barbara and William Hyland 2012.11.02

51 Peter Wegner Abstract/Oasis, 1995–96 Mixed media on panel 18 ½ x 24 inches Gift of Dixon and Barbara Farley 2012.05.29a-b

James Weeks Artist in His Studio-Variation #74, 1980 Acrylic on paper 26 x 35 inches Gift of Katie and Drew Gibson 2012.08.43

Huang Yan Fall, from the series “The Four Seasons,” 2008 Chromogenic print 29 x 31 ½ inches Museum purchase with funds contributed by Tad⅖ Freese and the Acquisitions Committee 2013.10.01

Huang Yan Summer, from the series “The Four Seasons,” 2008 Chromogenic print 29 x 31 ½ inches Museum purchase with funds contributed by Tad⅖ Freese and the Acquisitions Committee 2013.10.02

52 Museum Experience and Education Programs

At the San Jose Museum of Art, we believe arts learning is a key component in the development of the creativity and critical thinking that leads to innovation. The Museum provides arts education for curious schoolchildren, educators, university faculty, and college students. In the 2012–2013 fiscal year, the education department served more than 43,000 students through Museum visits for primary-school, secondary-school, and college groups in addition to in-school artist’s residencies, docents’ presentations, and week-long art camps. Public programs such as lectures, gallery tours, art-making workshops for adults and children, and free community days promote lifelong learning and serve multigenerational families, creative adults, and community groups. More than 10,000 people were served in this past fiscal year through the Museum’s public education programs. Hallmarks of SJMA’s welcoming and playful environment are its participatory gallery activities, which are conceived in tandem with the curatorial and marketing departments to encourage deeper engagement with the exhibitions and to promote a sense of creative play.

Highlights of the year include: • More than 10,000 visitors actively participated in 58 public programs, including record breaking attendance of 2,354 participants at Community Day: Lunar New Year. • Let’s Look at Art celebrated forty years of in-school programming and was notified that it will be honored with the Patricia Rees-Miller Award for Art Advocacy by the California Kindergarten Association. • The Kids’ Art Camp program added a summer camp for young teens focused on portfolio development for youth ages 12–14. • A 143% increase in attendance of Two-Part Art, SJMA’s signature school tour program. • Museum Experience Representatives (MERs) initiated and fostered community support by bringing in over $31,800 from membership sales.

School Programs

As the largest provider of arts education in Santa Clara County, SJMA fills a critical gap. School programs meet a variety of needs: they range from free, introductory Let’s Look at Art docent presentations in the classroom to extended artist’s residencies to a robust Museum field-trip program that includes hands-on art-making activities. All programs (linked to state curricular standards) provide critical, early exposure to the visual arts and foster familiarity with the Museum among an ever-growing community of young people.

Let’s Look at Art Let’s Look at Art, SJMA’s volunteer in-school docent program, celebrated 40 years of art education in Santa Clara County schools. The program offers lessons in art history and visual thinking at no cost to teachers or students. The Let’s Look at Art docents’ program introduces children to the importance, as well as the excitement, of learning about the visual arts. Their presentations stimulate curiosity, cultivate visual cognition and comprehension, and encourage self-expression. All students receive a family pass redeemable for free Museum admission for their family. The family pass provided Museum access to 4,016 students and their families, a 96% increase from the previous year. During the 2012–2013 academic year, Let’s Look at Art volunteers drove 12,680 miles to visit 1,175 classrooms and reached 30,802 students.

Wonderful program! My class was actively engaged and loved it. My students loved the program! They are all excited about visiting the museum! Thank you again! —Jennifer Brackett, Capri Elementary

This visit is my family and I first visit besides my children’s fieldtrips. Thanks for the complimentary pass from my daughter’s 7th grade class @ Joseph George Middle School. —Margarita Lopez, parent

Thank you for keeping the arts alive in our classrooms. —Vade Bon Coeur, A.P. Russo Academy

The art yesterday was so awesome! Thank you for coming to our classroom and the ticket. I think I'll go to the museum and meet you there. My family will come too. —Randy, student, 4th grade, Valle Vista School

In January 2013, SJMA conducted a six-week training program and graduated ten new Let’s Look at Art docents. Session topics included the elements of art and principles of design, visual literacy skills, classroom engagement and management strategies, and techniques to facilitate inquiry-based discussions.

In June 2013, Let’s Look at Art was notified that it will be honored with the Patricia Rees-Miller Award for Art Advocacy in January 2014 by the California Kindergarten Association, established to recognize the efforts of individuals or groups that speak out for the right of young children to grow through sustained creative experiences.

Kathleen Callan and Linda Goldberg attended the 2013 Kindergarten Association Annual Conference

School Tours: Guided and Self-guided Visits During students’ guided visits to the Museum, SJMA’s gallery teachers engage classes in active discussions about artworks. They use specific strategies to develop the students’ abilities to analyze an artwork, articulate their ideas, and back up ideas with evidence. These highly participatory gallery programs may also include gallery games, storytelling, writing exercises, and short, hands-on activities. Gallery programs are tailored for various grade levels and based on the California Visual Arts Framework and the California State Board of Education’s Content Standards in order to provide connections between the skills students learn in school and their experiences at the Museum. During the 2012–2013 academic year, 8,040 K-12 students participated in SJMA’s regular school tours.

55 Thank you for asking and giving structure for students to slow down in observation. —Katrina Lewis, Teacher, Sycamore Valley

Thank you so much for all you did for my class. After our tour of the two exhibitions, the kids couldn't stop talking about both shows. They were very inspired. Thank you again for making the whole day happen. —Brooke Delello, Instructor, Santa Rosa High School

Two-Part Art Two-Part Art is SJMA’s featured field-trip program. It encourages children to experience art as both viewers and makers. After a guided Museum visit, students exercise their imaginations and creativity in an hour-long, hands-on art workshop. All projects are inspired by the exhibitions on view and include discussions about the choices artists make. In the 2012–13 academic year, 4,886 students participated in Two-Part Art, more than double the prior year’s participation. Experience a Two-Part Art virtually by watching this short video generously produced by KMVT, http://www.youtube.com/watch?v=AHddZTAJbyk.

Loved the calm, supportive demeanor of the art instructors. Very organized presentation. Students were highly engaged in creation of own works of art. Responded as I would expect them to. Lesson allowed for maximum success levels. —Janice King, teacher, Booksin Elementary

It provides our students with a hands-on experience they wouldn’t get anywhere else. —Ms. Guansing, Oster Elementary

Multi-Part Art The Multi-Part Art (MPA) program includes of a series of hands-on art lessons in the classroom (led by professional teaching artists) and a guided visit to the Museum. Customized for each school, the lessons are either six, eight, or ten weeks long. During the 2012–2013 academic year, 1,057 students received 6,879 unique art experiences through Multi-Part Art.

Our Silver Oak students had another great year with Mr. Stuart and the San Jose Museum of Art program. I have had teachers tell me that their students don't miss class when they know he's coming! —Cheryl Brashears, Silver Oak Educational Partnership

Public Programs

A primary goal of SJMA’s strategic plan is to provide new paths for public access and engagement with the arts for communities across San Jose, the South Bay, and the Peninsula. To this end, the education department offered more than 58 public programs in the past fiscal year. Activities highlight diversity, cross-disciplinarity, and the creative process. Central to SJMA’s approach is a belief in collaboration with other arts and cultural organizations in the region local colleges and universities. Programs serve a variety of audiences: teens, multigenerational families, young cosmopolitans, creative adults, scholars, lifelong learners, and artists.

57 photo: Dale Elliott

photo: Dale Elliott

Docent-Led Public Tours SJMA’s volunteer docents do much more than convey information about a particular exhibition. As they walk with visitors through the galleries, docents prompt lively, participatory discussions and foster an open exchange of opinions and ideas. SJMA’s docents engage the public’s imagination and encourage new ways of seeing and thinking about art. In fiscal year 2012–2013, docents conducted 620 tours and volunteered 5828.5 hours of their time.

The guide was so fun to be with on the tour. She created much excitement about each event and got several of us (who have never met) involved and conversing in an involved and interesting manner. It was just so much fun; unfortunately, I didn’t have enough time, so now I’ll have to come back! – with a friend! —Roberta Allen, participant

Thanks so much to the docent for giving the Los Gatos Meadows group such a wonderful extended tour! —George Kolbe, participant

Docent was great! She was very engaging and got us to think a lot about the art we were observing in different ways. She also gave us unique perspective on each piece she brought us to. —Ali Samuels, participant

I would like you to know the docent tour was fascinatingly informative and evocative of original thinking from the group. Docent has a very ‘easy’ manner and she’s genuinely interested in what she’s doing. It was very enjoyable. —Judie Gordon, participant

SJMA Reads: Museum Book Club SJMA Reads is an artistic twist on the typical book club presented as a series of thematic public tours. Two books were chosen in conjunction with special exhibitions: Color: A Natural History of the Palette, by Victoria Finlay, for the exhibition Local Color, (docents offered five tours focused on different colors) and Yuyin Li’s Gold Boy, Emerald Girl, a collection of mesmerizing short stories set in 21st-century Beijing to complement Rising Dragon, Contemporary Chinese Photography (docents offered seven tours based on relevant themes).

Museum Experience Representative (MER) Since its 2004 inception, SJMA’s MER program has fostered the professional development of the community’s next generation of artists, art professionals, administrators, and supporters. MERs greet visitors, provide information, and encourage visitors to engage with the art. MERs help SJMA advance its commitment to accessibility and a warm, welcoming atmosphere.

Very peaceful Museum. I had a great time with my 6-yr old son. MER at the Front Desk was very pleasant and informative. —Sonia A. Guerra, visitor

MER very patiently helped an elderly woman and gave good information, so that visitors seemed already engaged in the Museum. —Anonymous, visitor

Great staff you guys have. —Molly Houston, visitor

MERs [are] the very best to have at the front desk – friendly, professional, knowledgeable and makes you feel completely welcomed!! Thank you…SJMA. —Larry & Stephanie Waldrip, visitors

Great job!  this Museum and staffs. — Anonymous, visitor

MER at the Front Desk was ever so helpful. This experience was amazing because of [the] MER…was knowledgeable. —Trinidad Asencio, visitor

Employees very friendly – had a positive energy. —Robyn, visitor

60 People that work here are very polite! —Michelle G, visitor

Thank you for the opportunity of working at SJMA. I've had a wonderful experience throughout my employment here. —Natasha, former MER

Community Days SJMA’s free Community Days celebrate the cultural diversity of the region and serve the Museum’s multigenerational family audience. Throughout the day, live performances by community dance troupes, storytellers, musicians, and other eclectic performers complement hands-on art activities taught by professional teaching artists. These dynamic, family-friendly days reach a broad cross-section of San Jose’s population. Community Days on October 27, 2012; February 9, 2013; and May 4, 2013, respectively, celebrated El Día de los Muertos (the Day of the Dead), Lunar New Year, and May Day, and served a total of 4,657 visitors.

photo: Dale Elliott

Had an absolutely wonderful time. We enjoyed every minute of it. I have to say all the volunteers were AWESOME! You all did such a wonderful job, we appreciated it all...Thank you again for hosting such a wonderful event. —Rose Juarez-Collins, El Día de los Muertos participant

Thank you! I had a great time. It was my first time. —Ricardo Delgadillo, El Día de los Muertos participant

Kids’ Art Camp Kids’ Art Camp, held at the Museum, offers a safe, fun, and enriching adventure for children ages six to fourteen. Children participate in a week of stimulating art activities that balance visual inquiry with practical arts instruction. Campers grow creatively and strengthen their artistic capabilities while developing social and intellectual skills. Camp culminates in a one-day public exhibition of the children’s artwork. In addition to summer camps, the Museum now offers a spring-break camp. In fiscal year 2012–2013, 219 campers focused on the artistic process as they expressed themselves and exercised their creative risk-taking.

I was surprised how much Elisabeth was able to take in and appreciate the artwork in the gallery. She taught me so much! She keeps asking me to go back to the museum. I think this was the biggest plus. That she loves and understands the museum and that she's urging us to keep going back and visit. I was also surprised at the quality of art they created--pieces they can be so proud of. —Becky, parent

I'm so impressed with the staff's ability to bring out the best and inspire kids participating at different skill levels and ages. —Elizabeth, parent

This was Collin's 3rd art camp with you. He keeps coming back because of the great staff, good organization so he feels safe & secure, and the fun, creative projects. Thanks for another great camp! —Karin, parent

Excellent camp. Wasn't just daycare, but good art instruction. We will come again. Thank you! —parent

Both my daughters are loving summer art camp. Keep up the good work! —parent

Creative Minds One of the great advantages of a contemporary art museum is that many of the artists whose work is in the permanent collection or exhibited in the galleries are still working today. To connect the Museum’s visitors with artists and increase awareness of the artistic process, SJMA presents Creative Minds, a series of programs that give the public the chance to meet and hear from artists. Programs offer rare background commentary and insights from the artist’s inner circle—family, friends, and colleagues. • Ranu Mukherjee and Mike Maurillo, September 15, 2012: 156 participants • Mark Dean Veca and Mónica Ramírez-Montagut, September 20, 2012: 32 participants • Opening reception for Dive Deep: Eric Fischl and the Process of Painting with artist’s talk, October 25, 2012: 190 participants (sold out)

63 • Fourth Annual Poetry Invitational with Sally Ashton, Poet Laureate, Santa Clara County, April 27, 2013: 35 participants • Opening reception for Annie Leibovitz: Pilgrimage and Questions from the Sky: New Work by Hung Liu, June 5, 2013: 1,200 participants • Performance by Hung Liu, June 20, 2013: 450 participants

I got my art hit for the evening. Thanks! —Connie Ralls, attendee, Creative Minds: Eric Fischl in Conversation

Thank you for the variety of speaker you choose. I appreciated his ability to reflect on his experiences. —CJ Gone, attendee, Creative Minds: Eric Fischl in Conversation

Fun and interesting event! I'm a new fan of Hung Liu. —Lisa Loohoo, attendee, Hung Liu

DIY Art SJMA embraces the popular “do-it-yourself” culture with programs that bring out the inner artist in everyone. SJMA’s staff or guest artists teach guided, materials-intensive, hands-on workshops inspired by selected exhibitions or artworks. Indie art projects bend the rules of traditional art-making and encourage participants to use everyday materials in new ways. For fiscal year 2012–2013, projects included a color-mixing lab, nude figure drawing, and a poetry workshop inspired by the art in the galleries led by Sally Ashton, poet laureate of Santa Clara County. • Summer Sundays, July 8, 2012: 82 participants • Summer Sundays, August 12, 2012: 31 participants • 8-Bit Portraits, August 25, 2012: 8 participants • Color Lab, September 29, 2012: 10 participants • Figure Drawing, November 4, 2012: 50 participants (sold out) • Festive Family Fun, November 24, 2012: 60 participants • Festive Family Fun, December 8, 2012: 75 participants • Figure Drawing, January 26, 2013: 24 participants • Flip Books, March 16, 2012: 8 participants • Writing Ekphrastic Poetry, April 27, 2013: 21 participants (sold out) • Summer Sundays with The Tech at SJMA, June 2: 2013, 39 participants • Summer Sundays with The Tech at The Tech, June 23, 2013: 62 participants

The museum is doing a great job in involving members in activities relating to the exhibition. —Anonymous, participant in figure drawing

Curator-led Gallery Talks Visitors often have questions about the creative process behind the Museum’s exhibitions. SJMA connects the public to its behind-the-scenes team with curator-led gallery talks. For each exhibition, the curator gives a public tour in the gallery and discusses the major themes, shares interesting anecdotes about the artwork and artists, and answers visitors’ questions. Senior Curator Mónica Ramírez-Montagut, Assistant Curator Jodi Throckmorton, and Curatorial Assistant Rory Padeken added their insights on the following exhibitions: • Walking Tour: Nomads, Art, and the Urban Environment with Jodi Throckmorton and ZERO1’s curators, September 14, 2012: 48+ participants • Local Color with Rory Padeken, October 11, 2012: 8 participants • Dive Deep: Eric Fischl and the Process of Painting with Jodi Throckmorton, February 15, 2013: 17 participants • New Stories From the Edge of Asia: This/That with Mónica Ramírez-Montagut, March 29, 2013: 14 participants • Rising Dragon: Contemporary Chinese Photography with Rory Padeken, May 10, 2013: 35 participants

Lunchtime Lectures San Jose’s downtown workforce continues to respond positively to the Museum’s monthly series of lunchtime programs. From September through May (with a summer break for art camp), the series illuminates and grapples with contemporary art issues through cross- disciplinary perspectives offered by experts and educators. • “In Search of the American Dream,” Scot Guenter, September 5, 2012: 48 participants • “An Introduction to Color Science,” Mark Butterworth, October 3, 2012: 86 participants • “A Game of Clues: Eric Fischl’s Visual Fictions,” Lucinda Barnes, November 7, 2012: 66 participants • “Illuminating Downtown San Jose,” Barbara Goldstein, December 5, 2012: 50 participants • “The Private Collection of Dr. No and Other Myths of the Art World,” Robert Flynn Johnson, January 2, 2013: 50 participants • “Contemporary Art in China,” Jeff Kelley, February 6, 2013: 90 participants • “Mail Order Brides/M.O.B.,” Eliza Barrios and Jenifer Wofford, March 6, 2013: 57 participants • “Ekphrasis: Making Connections with Poetry,” Sally Ashton, April 3, 2013: 53 participants • “Matta and the Post-Colonial Odyssey,” Apryl Berney, May 1, 2013: 46 participants

This was by far the best lunchtime lecture at SJMA! The entire lecture, including the content and speaker was highly engaging and thought provoking. An excellent complementary program to the Local Color exhibition. — attendee at "An Introduction to Color Science”

Refreshing, fun speaker. We need to look at art from ‘other’ perspective. (socially, culturally, scientifically, etc.) — attendee at "An Introduction to Color Science”

My wife and I attended the Lunchtime Lecture at the Museum today. It was very enjoyable. The speaker had a good style and was very knowledgeable about the subject. We look forward to future programs. I found out about the program from an email from the Museum. — Thomas Matson, attendee at “The Private Collection of Dr. No and Other Myths of the Art World”

You've done an excellent job this year @ your noon time series. — L. Amirau, attendee at “Ekphrasis: Making Connections w/Poetry”

As a tourist from Germany, I really enjoyed the program. A great opportunity to learn about art. — C. Khosh, attendee at “Contemporary Art in China”

Third Thursdays and ArtRage Extended evening hours on the third Thursday of each month offer a casual, social-networking experience for a wide variety of audiences, many of whom are new to the Museum, along with a public program to engage and delight audiences. Three times over the course of the year the Museum presented ArtRage with live music, a photo booth and photo-sharing opportunities, hands-on DIY activities, and exhibition-themed cocktails. • ArtRage, July 19, 2012: 300 participants • Short Films with the Center for Asian American Media, August 16, 2012: 115 participants • Mark Dean Veca and Mónica Ramírez-Montagut, September 20, 2012: 32 participants • Color Party and Book Club Launch, October 18, 2012: 123 participants • ArtRage: College Night, November 15, 2012: 185 participants

67 • Holiday Music, December 20, 2012: 161 participants • SJMADE & GoGo Craft, January 17, 2013: 480 participants • Opening Reception for Rising Dragon: Contemporary Chinese Photography and New Stories from the Edge of Asia: This/That and special performance piece by artist Mike Lai, February 21, 2013: 371 participants • ArtRage, March 21, 2013: 201 participants • Previously Secret Information with Joe Klocek, April 18, 2013: 103 participants • Pecha Kucha: My Design Vision for San Jose, May 16, 2013: 101 participants • Tech Connect , with a special painting performance by artist Hung Liu, June 20, 2013: 450 participants

Very exciting to see so many great ideas. Exciting brainstorming. — participant in Pecha Kucha

Love Pecha Kucha and will attend again. — Megan McDonnell, participant in Pecha Kucha

Enjoyed the event… Please continue organizing such nice events. — Sanjay Mathur, participant in ArtRage

University Programs Close to twenty universities, colleges, and community colleges are within a fifty-mile radius of SJMA. The Museum strives to be an educational resource and a place for student participation. In addition to faculty-led tours, customized programming for university students continues to grow. For example, groups of teacher-education students explored informal learning environments with the director of education; museum studies graduate students conducted site

68 reviews; and arts writing classes used the galleries as inspiration for poetry. Annually, the Museum hosts College Night, a free program for all students, faculty, and staff. This year’s event on November 15, 2012 featured a live performance by Stanford University’s steelpan band Cardinal Calypso, laser engraved “student IDs” by TechShop San Jose, and student friendly docent tours. In the 2012–2013 fiscal year, college students accounted for 18% of the Museum’s general attendance.

College Night was fun. —Bryan Mann, participant

Community Collaborations SJMA initiates meaningful collaborations with area non-profit groups and arts and cultural organizations to highlight the many connections between art and other disciplines. Recent community partners include: • American Institute of Architects Santa Clara Valley (AIASCV) • Arts Council Silicon Valley • ArtSPARK, (arts-education program) • Asia Society • City of San Jose Office of Cultural Affairs • Calpulli Tonalehqueh • Cardinal Calypso, Stanford University • Center for Asian American Media (CAAM) • Content Magazine • Gensler • GoGo Craft • Greenbelt Alliance • Handel Architects, LLP • Mariachi San Jose • Notre Dame High School • PechaKucha San Jose • Poetry Center San Jose • Rising Phoenix Lion Dance Association • San Francisco Asian Art Museum (SFAAM) • San Francisco Planning and Urban Research Association (SPUR) • Bicycle and Pedestrian Program, San Jose Department of Transportation • San Jose Jazz High School All Stars

69 • San Jose Made (SJMADE) • San Jose Multicultural Artists Guild • San Jose State University • The School of Arts and Culture at the Mexican Heritage Plaza • Silicon Valley Chapter of the American Harp Society • The Tech Museum of Innovation • TechShop San Jose • Tezkatlipoka Aztec Dance & Drum • Trace Elementary Choir • Visual Thinking Strategies • ZERO1: The Art and Technology Network

Gallery Activities

SJMA’s education, curatorial, marketing, and installation teams work together to present innovative interpretive areas in the galleries. Linked in concept or technique to the works on view, these activities encourage visitors to spend time in the galleries and to consider the ideas at hand. The Museum is known regionally and nationally for its innovative use of technology as a tool for interpretation and audience participation.

Local Color, July 26, 2012 – January 13, 2013 Josef Albers was one of the most prominent painters and art instructors of the 20th century. His book The Interaction of Color (1963) is based on the famous color-theory class Albers developed and taught as a professor at the Bauhaus in Germany from 1925 to 1933 and later at Black Mountain College in North Carolina and at Yale University, New Haven, Connecticut. Using colored paper instead of paint and avoiding color wheels and technical terms, Albers focused on how the eye perceives color. A central tenet of his thinking is the concept of the relativity of color: that color changes in relation to its surroundings and the condition of the viewer. His ideas have been immensely influential for generations of artists, designers, and architects. Three of Albers’s color challenges were presented to visitors.

70 Mark My Word, November 10, 2012 - November 13, 2013 Using works of art from the permanent collection and a family-friendly theme, the Museum Experience and Education department annually curates an exhibition in the Koret Family Gallery. For the 2012– 2013 fiscal year, the exhibition focused on artwork that includes words or letters. Included in the show was a commission by Sammy Rodriguez which filled the stairwell. Hands-on activities in the gallery were inspired by artists Margaret Kilgallen and Jack Fulton.

Raging Opulence: Mark Dean Veca, September 29, 2012 – March 31, 2013 In conjunction with the exhibition, Mark Dean Veca activated the museum’s café when he started an interactive mural as part of the Creative Minds public program on September 20, 2012. After his artist talk, Veca painted the outline of a mural in front of a live audience and began some of the detailed line work. Visitors were invited to paint with Veca during the event and to contribute to the mural throughout the run of the exhibition.

Dive Deep: Eric Fischl and the Process of Painting, October 27, 2012 - May 12, 2013 During the organization of the exhibition, Jodi Throckmorton interviewed Eric Fischl, who discussed his early training and shared thoughts on artists of the Bay Area, the relationship between science and art, and the use of technology in his creative process. Available on YouTube and on SJMA’s website, this video is a wonderful supplement to the exhibition. The Museum also recorded the Creative Minds public program with Fischl on October 25, 2012 and posted the audio online. Both are available at http://www.sanjosemuseumofart.org/dive-deep- fischl.

Questions from the Sky: New Work by Hung Liu, June 6, 2013 - September 29, 2013 Hung Liu’s signature paintings have long captivated audiences. On June 20, 2013, visitors had the unique opportunity to witness Liu painting in her first-ever live painting performance, arranged in a poetic series of five cantos. Liu worked directly on a wall in the gallery, set-up as a painting stage, where she painted over a projected film of clips from Communist-era propaganda films. The performance was filmed, along with an interview conducted by the education director, and edited into a short film that was then presented in the gallery for all visitors. Watch the video: http://www.youtube.com/watch?v=GOg_ILlZbPY&feature=c4- overview&list=UU6mDwYnNLnAvcl280W7lsVg

Such a great video and interview with Hung Liu. —Christina Rea, attendee

Art Packs SJMA’s well-loved Art Packs were completely redesigned and updated this year. Inspired by the new tag line, See What You Think, each pack consists of sketching exercises, conversation starters, activities for close looking, and art supplies. Available for all visitors to borrow during their visit, Art Packs are a popular way for visitors to connect with the art—and with each other.

Thanks for providing sketching materials! We love it! —participant

My daughter loved the drawing board and equipment – she drew for hours! —parent of participant

This was my first visit and I absolutely loved it! The kids and I especially enjoyed making our own artwork. I will definitely be visiting again! —Asia, participant

I think it’s great that the Museum includes kids with all the projects they can do here. Love this! —Michelle G, parent of participant

Loved the Museum. Where/ how/ when can I get one of those ‘See what you think’ bags? They are perfect! —Nam Nguyen, participant

The Museum was fun, enjoyed the exhibit and the hands-on activities available for children. —Mayflor Maranon, parent of participant

72 San Francisco Chronicle June 23, 2013

73 Development Report

Corporate, Foundation, and Government Funders

The San Jose Museum of Art’s programmatic focus reflects Silicon Valley’s character—cultural diversity, global perspectives, transformational creative thinking, new ideas, and a belief in the social power of innovation. Corporations, foundations, and government agencies invest in the Museum’s dynamic learning opportunities for adults as well as in vital educational services for youth and families, including “Sowing Creativity," SJMA’s pilot program that emphasizes the Common Core Standards for schools nationwide.

We extend special thanks to the City of San José, the City of San José Office of Cultural Affairs, the Margaret A. Cargill Foundation, the James Irvine Foundation, the David and Lucile Packard Foundation, the Institute of Museum and Library Services (IMLS), the Richard A. Karp Charitable Foundation, the Walter and Karla Goldschmidt Foundation, and the John S. and James L. Knight Foundation for their operating support.

We wish to highlight the long-term special relationship the Museum has enjoyed with the following corporations: Applied Materials, the Bank of America, McManis Faulkner, University Art, Wells Fargo, and Xilinx. We look forward to deepening our relationships with a number of our corporate friends in 2014, many of whom supported the 2013 Full Spectrum Gala: Deloitte, Focus Business Bank, studio3 design, inc., and Wells Fargo Private Bank, as well as dedicated partners Applied Materials and Xilinx.

Funding from donors helps ensure the excellence and scope of the Museum's public programs as well as the care and management of its collection. We thank our leading institutional donors for their support in fiscal year 2012–2013:

$250,000 and above City of San José Latham & Watkins LLP

$100,000 - $249,999 The David and Lucile Packard Foundation

$50,000 - $99,999 Bank of America Walter and Karla Goldschmidt Foundation JPMorgan Chase Foundation Richard A. Karp Charitable Foundation

$25,000 - $49,999 Applied Materials JPMorgan Chase Co. Myra Reinhard Family Foundation Xilinx

$10,000 - $24,999 Cisco Systems Foundation Farrington Historical Foundation Lockheed Martin Space Systems Maxim Integrated Products, Inc. McManis Faulkner The Lowell Turriff Foundation Wells Fargo

$5,000 - $9,999 Christie's Deloitte House Family Foundation Technology Credit Union Trina Solar (US) Inc

$2,500 - $4,999 Ground Floor Public Affairs Hitachi Data Systems Corp. Hitachi Foundation Houlihan Lokey, Inc. The Morrison & Foerster Foundation

$1,000 - $2,499 1stACT artMRKT Bank of the West Center for Cultural Innovation Creative Capacity Fund Joel Dean Foundation, Inc. DPR Construction East West Bank GE Foundation IBM Corporation Anthony Meier Fine Arts San Jose Water Company Target Corporation

IN-KIND CONTRIBUTORS Adobe Foundation Rena Bransten Gallery Catered Too! Catharine Clark Gallery Creative Security Dolby Chadwick Gallery

75 Elins Eagles-Smith Gallery Fine Arts Museums of San Francisco Fine Linen Creations Fraenkel Gallery Gallery Paule Anglim Gallery Wendi Norris Hackett | Mill Haines Gallery Connie Hwang Design Gregory Lind Gallery McManis Faulkner Ninkasi Brewing Company North American Theater Technology KMTV Community Television Paula le Duc Fine Catering Preston Holmes, Inc. Ratio 3 Silicon Valley Information Systems Studio Moon Patricia Sweetow Gallery Vintage Wine Merchants

76 Membership

Members of the San Jose Museum of Art play a significant role in the success of the Museum. Not only do members provide vital funds for SJMA’s many dynamic exhibitions and programs, but they also act as ambassadors for SJMA in the community. This partnership brings cultural vibrancy to Silicon Valley. With their enthusiasm, energy, and diversity, SJMA members help the Museum execute its mission of engaging multicultural audiences and celebrating new ideas. SJMA is grateful for the many ways in which its members express their support: 650 of our members have maintained their membership for more than a decade!

SJMA hosted three opening exhibition receptions for its members this year. The first reception rang in the fall exhibition season in October 2012 with Dive Deep: Eric Fischl and the Process of Painting. The second reception, in February Credit: Dale Elliott 2013, celebrated the opening of Rising Dragon: Contemporary Chinese Photography and New Stories from the Edge of Asia: This/That. Lastly, the June 2013 reception turned out record-breaking crowds, with more than 800 members joining together to kick off the summer exhibitions, Annie Leibovitz: Pilgrimage and Questions from the Sky: New Work by Hung Liu. Members enjoyed other opportunities to stimulate their creative minds with many public programs throughout the year, including Creative Minds, Community Days, Third Thursdays, and more. To stay apprised of these activities, benefit updates, and other happenings, members received monthly Enewsletters and a regular print newsletter.

Credit: Dale Elliott

77 The Council of 100 and the Director’s Council

The Museum is grateful to the members of the Council of 100 and the Director’s Council, whose generous operating support helps ensure SJMA’s high-quality exhibitions, educational initiatives, and core public programs. Members also support acquisitions for the permanent collection while enjoying a number of special programs and annual events. The hallmark of the councils’ activities is extraordinary access – to artists and private collections, to behind-the-scenes tours and insights, and to conversations and rare experiences.

The Council of 100 started the year with a hike through the Djerassi Resident Artists Program at SMIP Ranch in Woodside, California, followed by a visit to the Lipman family’s extraordinary collection. Joining Peter and Bev Lipman for the tour were former Djerassi residency artists Walter Robinson and Jamie Brunson, both of whom have work in SJMA’s collection.

Over a long weekend trip to San Diego, the Councils’ members enjoyed the extraordinary international contemporary art collection of the haudenschildGarage with Eloisa Haudenschild, as well as a behind-the-scenes tour of the Salk Institute designed by Louis Kahn – one of the buildings that changed modern life. This unforgettable trip also included visits to the extensive private collection of Iris and Matthew Strauss, the New Children’s Museum, and the Museum of Contemporary Art. Artist Marcos Ramirez ERRE gave a special presentation before a walking tour of the architecture and murals of the historic barrio neighborhood.

In March, our guest speaker for the Council of 100’s annual dinner was Eric Fischl, whose work was featured in Dive Deep: Eric Fischl and the Process of Painting. In May, a close vote at ArtPick resulted in the Museum’s purchase of Fort Barry at Bonita Point (2011), a unique photograph by John Chiara.

Members of the Director’s Council enjoyed the opportunity to participate in all of the Council of 100’s events, as well as a fall tour through the contemporary art collection of Robin Wright, David Mahoney’s American photography collection, and Jim Campbell’s studio. The group’s trip to Atlanta this spring had a distinct touch of Southern hospitality as Sally and Allen McDaniel, Elaine Levin, and Judith and Mark Taylor opened their homes and collections. Bill Arnett welcomed members into his vast warehouse of vernacular, visionary Southern art, and John and Sue Weiland opened the doors to their wareHOUSE. Visits to the studio/homes of Rocio

78 Rodriguez and Radcliffe Bailey enabled Council members to share a little of Oshman Executive Director Susan Krane’s affinity for Atlanta’s arts community. Colleagues at the High Museum of Art and the Michael C. Carlos Museum were extraordinarily generous in (literally) opening the vaults for our visit. Then there was the surprise visit to a photography collector who remembers when rock was young….

Founders’ Society

We are pleased to welcome to the Founders’ Society those generous donors who will help ensure that the Museum serves generations to come by including SJMA in their estate plans. This society is named for the many individuals—affectionately known as "founders”—who led the community-based effort to establish the Museum in 1969.

The San Jose Museum of Art gratefully acknowledges the following members of the Founders’ Society:

Doris and Alan Burgess Margaret A. Cargill* Ron Casentini Caroline Crummey* Faith C. Davies and Paul L. Davies* Dixon and Barbara Farley* Zelda Glaze* Chris Mengarelli and Dale Elliott Ruth Mirassou* Yvonne and Mike Nevens Ena Weisskopf Passarini* Ann Ratcliffe Jan N. Thompson Larene Wambsganss Elizabeth and Bobby Yount William Zoller*

*Estate gift received by SJMA

Full Spectrum 2012: Annual Gala

A rousing kick-off party at the home of Bruce and Susan Worster launched Full Spectrum 2012: An Evening of Colorful Surprises. Collection advisor David Henry then offered advice and tips to bidders at an auction preview hosted by McManis Faulkner. On October 13, 2012, 209 guests filled the Central Skylight Gallery for a delicious dinner, an exciting auction of sixteen splendid artworks and experiences, and an evening capped off by hula-hooping. Master auctioneer Robert Slawinski artfully led the art and Fund-a-Need auctions, which garnered proceeds of more than $233,000. Entertainment impresario $teven Ra$pa again delivered offbeat entertainment by Foo Foo Ha!

The lobby décor of “living artworks” by Trina Merry and the Art Alive Gallery will long be remembered. Gala chair and fundraising wizard Bess Wiersema-Hilliard was joined by auction committee members Tad Freese, Wanda Kownacki, Peter Lipman, Mary Mocas, Carol Parker, and David Soward in designing the rousingingly fun and successful evening. The auction featured works by Johnny Apodaca, John Chiara, Bruce Conner, Binh Danh, Danny Keith, Markus Linnenbrink, Hung Liu, Ricardo Mazal, Ranu Mukherjee, Nathan Oliveira, Walter Robinson, Terry St. John, Barbara Takenaga, and Gail Wight. Our thanks go to the Bay Area’s premier galleries for their generosity:

Gallery Paule Anglim, Rena Bransten Gallery, Catharine Clark Gallery, Dolby Chadwick Gallery, Elins Eagles-Smith Gallery, Fraenkel Gallery, Hackett|Mill, Haines Gallery, Gregory Lind Gallery, Gallery Wendi Norris, Ratio 3, and Patricia Sweetow Gallery. A conservation studio visit was provided by Fine Arts Museums of San Francisco, and a day-long yacht excursion on the San Francisco Bay was donated by Anneke and David Dury.

We are grateful for the generous leadership of our table sponsors:

Platinum Circle Yvonne and Mike Nevens

Gold Circle Deloitte/Eileen and Al Fernandes

80 Maxim Integrated Products, Inc. Xilinx, Inc. Susan and Bruce Worster

Silver Circle Melanie and Peter Cross Anneke and David Dury First Republic Bank Tad Freese Lockheed Martin Corporation McManis Faulkner Mary Mocas and Marv Tseu/Carol and Gerhard Parker studio3 University Art

In-Kind Contributors: Catered Too! Fine Linen Creation Connie Hwang Design Paula LeDuc Fine Catering McManis Faulkner North American Theatrical Lighting Vintage Wine Merchants, Santana Row Susan and Bruce Worster

81 Attendance and Benchmarks

Attendance FY 13 FY 12 FY 11 FY 10

general attendance 37,661 34,065 39,822 50,498 education programs 41,368 39,180 38,678 30,182 events and activities 12,715 11,349 13,135 12,449

total 91,744 85,564 91,635 89,319

Web visits sanjosemuseumofart.org

page views 706,356 691,372 769,013 750,144 unique visitors 226,833 214,612 220,439 194,738

YouTube subscribers 975 848 805 192 views 105,238 224,633 28,544 87,005

Twitter followers 2,914 1,929 897 322

Facebook fans/likes 4,607 3,473 2,319 791

Benchmarks During fiscal year 2012–2013 based on SJMA’s audited financials, • 76% of functional expenses were devoted to programs and services • 13% of functional expenses were spent on management and administrations costs • 10 cents were spent for each dollar raised

82 SAN JOSE MUSEUM OF ART ASSOCIATION (A California Nonprofit Public Benefit Corporation)

STATEMENT OF FINANCIAL POSITION June 30, 2013 with Comparative Totals as of June 30, 2012

TOTAL Temporarily Permanently Unrestricted Restricted Restricted 2013 2012 ASSETS Cash and Cash Equivalents $ 614,417 $ 489,278 $ - $ 1,103,695 $ 1,524,171 Accounts Receivable 54,835 6,259 - 61,094 39,457 Contributions Receivable 48,907 2,057,697 568,969 2,675,573 1,490,572 Museum Store Inventory 86,116 - - 86,116 79,894 Note Receivable - Related Party 250,000 - - 250,000 250,000 Deferred Exhibition Costs and Prepaids 57,658 - - 57,658 84,853 Investments 59,945 1,862,100 6,728,291 8,650,336 7,338,780 Property and Equipment, Net 33,097 - - 33,097 64,793 Beneficial Interest in Perpetual Trust - - 930,117 930,117 930,117 TOTAL ASSETS $ 1,204,975 $ 4,415,334 $ 8,227,377 $ 13,847,686 $ 11,802,637

LIABILITIES AND NET ASSETS

LIABILITIES: Accounts Payable $ 79,788 $ - $ - $ 79,788 $ 68,298 Accrued Liabilities 210,521 - - 210,521 211,973 Unearned Revenue 70,534 - - 70,534 88,826 Total Liabilities 360,843 - - 360,843 369,097 NET ASSETS: Unrestricted Net Assets 844,132 - - 844,132 595,214 Temporarily Restricted Net Assets - 4,415,334 - 4,415,334 2,631,187 Permanently Restricted Net Assets - - 8,227,377 8,227,377 8,207,139 Total Net Assets 844,132 4,415,334 8,227,377 13,486,843 11,433,540

TOTAL LIABILITIES AND NET ASSETS $ 1,204,975 $ 4,415,334 $ 8,227,377 $ 13,847,686 $ 11,802,637

83 SAN JOSE MUSEUM OF ART ASSOCIATION (A California Nonprofit Public Benefit Corporation)

STATEMENT OF ACTIVITIES Year Ended June 30, 2013 with Comparative Totals for the Year Ended June 30, 2012

2013 2012 Temporarily Permanently Unrestricted Restricted Restricted TOTAL TOTAL OPERATING SUPPORT AND REVENUE: Contributions $ 1,262,753 $ 2,603,277 $ - $ 3,866,030 $ 2,602,102 Other In-Kind Support 556,338 - - 556,338 614,350 Public Programs 313,193 - - 313,193 288,371 Membership Dues 197,790 - - 197,790 203,064 Museum Store 205,821 - - 205,821 198,519 Event Rental Income 87,675 - - 87,675 134,035 Other Revenue 143,192 - - 143,192 83,985 Special Event Revenue 261,128 - - 261,128 240,515 Less: Direct Expenses (91,148) - - (91,148) (86,000) Art Class Contracts and Tuition 20,260 - - 20,260 54,148 2,957,002 2,603,277 - 5,560,279 4,333,089 In-Kind Rent 1,217,969 - - 1,217,969 1,217,969 Total Operating Support and Revenue 4,174,971 2,603,277 - 6,778,248 5,551,058 Net Assets Released from Restrictions - Operations 1,530,635 (1,530,635) - - - Total Operating Support, Revenue and Net Assets Released from Restrictions 5,705,606 1,072,642 - 6,778,248 5,551,058 OPERATING EXPENSES: Program Services: Exhibitions 2,604,244 - - 2,604,244 2,376,634 Education 955,323 - - 955,323 900,128 Museum Store 377,272 - - 377,272 376,909 Total Program Services 3,936,839 - - 3,936,839 3,653,671 Supporting Services: Management and General 835,986 - - 835,986 948,533 Fundraising 551,989 - - 551,989 494,637 Total Supporting Services 1,387,975 - - 1,387,975 1,443,170 Total Operating Expenses 5,324,814 - - 5,324,814 5,096,841 CHANGE IN NET ASSETS FROM OPERATIONS 380,792 1,072,642 - 1,453,434 454,217 NONOPERATING ACTIVITIES: Endowment Investment Income, Net - 745,028 - 745,028 10,910 Endowment Contributions - - 20,238 20,238 24,960 Contributions for Art Collection Items - 230,550 - 230,550 103,706 General Investment Income, Net 4,217 - - 4,217 4,507 Net Assets Released from Restrictions - Art Acquisitions 368,382 (368,382) - - - Interfund Interest Income (Expense) (104,309) 104,309 - - - Purchased Art Collection Items (368,468) - - (368,468) (41,341) Depreciation and Amortization (31,696) - - (31,696) (35,338) Interest Expense - - - - (111) Total Nonoperating Activities (131,874) 711,505 20,238 599,869 67,293 CHANGE IN NET ASSETS 248,918 1,784,147 20,238 2,053,303 521,510 NET ASSETS, Beginning of Year 595,214 2,631,187 8,207,139 11,433,540 10,912,030 NET ASSETS, End of Year $ 844,132 $ 4,415,334 $ 8,227,377 $ 13,486,843 $ 11,433,540

84 SAN JOSE MUSEUM OF ART ASSOCIATION (A California Nonprofit Public Benefit Corporation)

STATEMENT OF FUNCTIONAL EXPENSES Year Ended June 30, 2013 with Comparative Totals for the Year Ended June 30, 2012

PROGRAM SERVICES SUPPORTING SERVICES TOTAL Management and Exhibitions Education Museum Store Total General Fundraising Total 2013 2012 OPERATING EXPENSES: Salaries and Wages $ 886,976 $ 388,055 $ 111,055 $ 1,386,086 $ 275,640 $ 244,935 $ 520,575 $ 1,906,661 $ 1,699,739 Payroll Taxes and Benefits 150,652 63,436 17,951 232,039 26,696 50,366 77,062 309,101 259,315

Total Salaries and Related Expenses 1,037,628 451,491 129,006 1,618,125 302,336 295,301 597,637 2,215,762 1,959,054

In-Kind Rent 788,133 147,445 100,191 1,035,769 91,100 91,100 182,200 1,217,969 1,217,969 In-Kind Support Expense 39,511 18,246 62 57,819 248,560 52,824 301,384 359,203 420,274 Outside Services and Security 244,217 21,430 39 265,686 39,200 23,571 62,771 328,457 444,066 Volunteer Services - 172,697 24,438 197,135 - - - 197,135 194,076 Shipping and Storage 140,766 73 45 140,884 4,400 31 4,431 145,315 100,766 Cost of Goods Sold - - 109,791 109,791 - - - 109,791 105,470 Exhibition Costs 108,952 - - 108,952 - - - 108,952 78,850 Travel 24,078 53,100 712 77,890 19,316 162 19,478 97,368 93,470 Marketing 78,701 73 - 78,774 3,773 209 3,982 82,756 67,045 Catering 15 35,460 - 35,475 138 20,259 20,397 55,872 45,758 Insurance 48,221 1,861 1,264 51,346 1,150 1,150 2,300 53,646 39,399 Telephone and Utilities 15,929 5,075 1,690 22,694 17,635 10,162 27,797 50,491 59,210 Office Supplies 6,979 6,474 2,764 16,217 26,672 6,765 33,437 49,654 35,303 Materials 26,145 22,017 - 48,162 135 150 285 48,447 31,784 Miscellaneous 5,981 5,269 895 12,145 15,012 13,894 28,906 41,051 31,156 Legal and Accounting - - - - 38,283 - 38,283 38,283 38,000 Printing and Web Design 12,132 10,328 - 22,460 1,979 13,236 15,215 37,675 29,888 Bank Charges 6,380 2,025 5,935 14,340 2,814 14,616 17,430 31,770 35,793 Equipment Expenses 12,985 383 325 13,693 15,866 734 16,600 30,293 38,704 Postage 3,598 1,592 7 5,197 1,667 6,978 8,645 13,842 13,781 Recruiting - 284 - 284 5,950 345 6,295 6,579 15,413 Conservation 3,818 - - 3,818 - - - 3,818 663 Meetings and Lunches 75 - 108 183 - 502 502 685 949

Total Operating Expenses 2,604,244 955,323 377,272 3,936,839 835,986 551,989 1,387,975 5,324,814 5,096,841

NONOPERATING EXPENSES: Purchased Art Collection Items 368,468 - - 368,468 - - - 368,468 41,341 Depreciation and Amortization 15,848 9,509 3,170 28,527 1,584 1,585 3,169 31,696 35,338 Interest Expense ------111

Total Functional Expenses $ 2,988,560 $ 964,832 $ 380,442 $ 4,333,834 $ 837,570 $ 553,574 $ 1,391,144 $ 5,724,978 $ 5,173,631

Percentage of Total 52.2 % 16.9 % 6.6 % 75.7 % 14.6 % 9.7 % 24.3 % 100.0 %

Total Functional Expenses $ 2,988,560 $ 964,832 $ 380,442 $ 4,333,834 $ 837,570 $ 553,574 $ 1,391,144 $ 5,724,978 $ 5,173,631 Nonrecurring Pro Bono Professional Services Excluded - - - - 217,278 - 217,278 217,278 260,000

Total Functional Expenses Excluding Non- recurring Pro Bono $ 2,988,560 $ 964,832 $ 380,442 $ 4,333,834 $ 620,292 $ 553,574 $ 1,173,866 $ 5,507,700 $ 4,913,631

Percentage of Total 54.3 % 17.5 % 6.9 % 78.7 % 11.3 % 10.0 % 21.3 % 100.0 %

85 Volunteers

Board and Community Committees

Executive Committee T. Michael Nevens, chair Russ Daulton Bill Faulkner Tad Freese Peter Lipman Elena Lebedeva Hildy Shandell Evelyn Neely Bruce Worster Yvonne Nevens Elizabeth Ryono Finance Committee Hildy Shandell Bill Faulkner, chair David Soward Peter Cross Peter Lipman Full Spectrum 2012 Committee Horacio Teran Bess Wiersema, chair Tom Matson Tad Freese Al Smith Wanda Kownacki David Spence Peter Lipman Mary Mocas Acquisitions Committee Carol Parker J. Michael Bewley, chair David Soward Doris Burgess Elaine Cardinale Interns Stephen French Madison Connor, curatorial Peter Lipman Kirstin Ganz, marketing and development Ann Marie Mix Julie Goldsmith, curatorial Mary Mocas Tricia Hill, development and membership Barbara Oshman Kat Koh, curatorial Carol Parker Megan Merritt, curatorial Theres Rohan Shannon Reed, curatorial David Soward Lauren Smith, marketing and development Hildy Shandell Shawntee Santos, curatorial John Zarobell Joseph Walters, finance

Audit Committee Volunteer Groups Anneke Dury, chair Peter Cross Store Guild Lawrence Lee Dorothy Atkins Gerry Parker Marilyn August David Sacarelos Connie Bantillo Lynne Brown Development Committee Pat Caporal Cornelia Pendleton, co-chair Ida Carbullido Bruce Worster, co-chair Linda Darnall Roger Bowie Char Devich

86 Lois Gil Lorraine Fitch Betty Harju Cathleen Fortune Teri Kane Linda Foster Rachel Karklin Kathy Gibson Michele Kelly Martina Glenn Diane Kirk Carole Gonsalves Madelyn Lee Barbara Hansen Chris Mengarelli Kim Harris Maralyn Miller Sharlyn Heron Jeannie Pedroza Tricia Hill Anita Phagan Karen Huitric Morgan Phelps Aphri Jacobsen Jeff Ramirez Joanne Knight Peggy Rollis Ruth Koffman Carla Rosenblum Marilyn Katz Shu Katahira Rosenthal Bob Katz Cindy Salvador Jeanne Langridge Sara Selbo-Bruns Ramon Loredo, Jr. Lynore Slaten Joanna Liu Norika (Nori) Takada Diana Loew Nancy Unger Ted Lorraine Mitsu Wasano Suzette Mahr Nancy Wylde Ellen McInnis Shauna Mika Docent Council Ann Marie Mix Mary Allan Peggy Yep Morrow Alexanna Alvarado Evelyn Neely Naomi Alpert Susanne Offensend Ursula M. Anderson Maria Paredes Michael G. Arellano Pirjo Polari-Khan Linda Benenati Carol Roosen Evelyn Bookwalter Elizabeth Ryono Sharon Bosley Elizabeth Seiden Lauren Buchholz Ursula Shultz Doris Burgess Bob Strain Julius Calica Elizabeth Striebeck Kathi Cambiano Alan Tanenbaum Emme Carl Georgette Tanenbaum Penelope Chaconas Jeanne Torre Sandra Churchill Hal Turk Susan Crow Rick Vierhus Lisa Daidone Richard Volle Jan Edgerton Linda Vrabel Dolores Fajardo Eli Yasek Peter Fargo Alayne Yellum Betty Faultner Martine Yingling Leticia Figueroa

87 Let’s Look at Art – Active GayAnn Southwell Mary Jo Anderson Liz Summerhayes Marilyn August Shelley Sweet Letel Barber Mary True Donna Bee-Gates Jeanne Toms Carol Bower Linda White Kathleen Callan Janet Wolf Arlene DeMoss Christine Zheng Beverly Diehl Carol Dyson Let’s Look at Art – Sustaining Norma Faulkner Diane Baer Toby Fernald Mary Ann Barr Linda Foster Sue Bisceglia Cathy Fraser Barbara Bogomilsky April Funcke Noemi Buelna Linda Gallo Michelle Cohen Linda Goldberg Susan Crow Joan Gorham Connie Dimmitt Barbara Hansen Kathy Downing Julia Hartman Lorraine Fitch Linda Hignite Carole Harris Tricia Hill Julie Holding Dave Himmelblau Loretta Lopez Lorraine Hoff Beverly Lundstedt Gail Kefauver Ellen McInnis Isabel Kennedy Rosemarie Mirkin Carole Kilik Jane Pomeroy Linda Klein Carrie Ross Jeanne Langridge Diane Stoiber Karen Lantz Diana Taylor Christene Lee Ruth Winkler Liss Lohmann Nancy Wylde Gerri Lurya Elizabeth Yount Jennifer Ly Loyce Mandella Janet Mannina Nancy Mathews Tony Misch Sharon Morales Lupe Morishige Maria Quillard Amy Rapport Linda Robles Nancy Rucker Elizabeth Seiden Joan Sharrock

88 Staff

Lauren Adams Interim Director of Development Andrea Aguilar Accounting Specialist Maricela Andrade Education Specialist Anamarie Alongi Registrar Stephanie Battle Project Registrar Jeff Bordona Manager of Youth and Family Services Lynne Brown Sales Associate Aquiles de la Torre Website Manager Leigh Dickerson Exhibition Project Coordinator Pat Downward Director of Retail Operations Ashley Gardini Former Development Assistant Katy Hover-Smoot Former Development and Membership Coordinator Vivian Huynh Accountant Karen Hsu Public Relations and Marketing Assistant Anna Hygelund Former Manager of Individual Giving and Cultivation Sherrill Ingalls Director of Marketing Lisa James Director of Development Rich Karson Chief of Design and Installation Jessica Knudtzon Development Assistant Kat Koh Interim Curatorial Assistant Susan Krane Oshman Executive Director Lucy Larson Director of Education Susan Leask Acting Senior Curator Deirdre MacMillan Former Development and Membership Coordinator Jacqui Marchessini Former Events Manager Danyelle Morgado Assistant to the Executive Director and Museum Administration Brandon Murphy Former Exhibition Graphic Coordinator Deb Norberg Deputy Director, Operations Rory Padeken Assistant Curator Joe Perry Former Sales Associate Carol Pizzo Director of Legacy Stewardship Mónica Ramírez-Montagut Former Senior Curator Cherri Rediger Sales Associate John Renzel Facilities Manager Elizabeth Rock Education Coordinator Alexis Rossini Individual Giving Officer Brian Spang Director of Finance Jodi Throckmorton Former Associate Curator Robin Treen Special Projects Coordinator Paulina Vu Manager of Museum Experience Jo Anne Yada Former Education Coordinator

89 Museum Experience Representatives Alexanna Alvarado Michael Arellano Rebecca Au Letel Barber Nadezhda Chuprina Eduardo Silva Jehoiakim Santos James Eitel Jillian Eittreim Jamillah Gabriel Natasha Kleit Hope Kusy Terra Fuller Heather Gilmore Nigel Gully Herlinda Lozano Michael Macatangay Nicole Medenilla Andrew Mendoza Raymond Ramirez Whitney Romberg Anna Wicklander Sarah Wolk

Gallery Teachers Dominique Alexander Michael Arellano Nigel Gully Rojana Ibarra Vijayal Mahadevan Rachel Marguet-Smith Nelda Perez

Studio Art Educators Emilio Banuelos Denise Liberi Stuart Mahoney Cristina Velazquez

Installation Crew Peter Alvarado Adam Bontrager Randall Bricco Jennifer Garcia John Hanna Javier Martinez

Event Staff Robin Rodricks Waimei Tam Nicole Vazquez Laurel Vera

IMLS Project Staff Christina Antipa Julie Goldsmith